Diana: Superficial Biopic of the Late Princess Diana
Most actors and directors will tell you that tackling a biopic is no easy task. The portrayal of any iconic figure – loved or hated – comes with pitfalls and any filmmaker faces an uphill struggle before the first scene is even filmed.
Such is the case with Diana; a biopic detailing the most tumultuous times of the late Princess Diana that ultimately fails to match the splendour and majesty of one of the most influential figures of the 20th century.
Based on Kate Snell’s book, Diana: Her Last Love, the story opens on that ill-fated night in Paris in 1997 with Princess Diana (Watts) walking down a hallway towards a waiting elevator – recorded by the hotel’s CCTV cameras – before heading out and climbing into a waiting car.
The events then rewind back to two years before the tragic death, with Princess Di finding herself drowning in bad publicity, following her separation from Prince Charles. The once media-darling struggles to keep her private life away from the public eye and bloodthirsty paparazzi.
She soon finds comfort in British born- Pakistani heart surgeon, Hasnat Khan (Andrews), whom she meets during a hospital visit. Diana is instantly besotted and she quickly begins pursuing the sweet-talking doctor who is, naturally, flabbergasted by her interest in him.
Their relationship is soon splashed all over the media and the immense pressure of it all becomes a too difficult for Hasnat to handle. Trying to balance his now highly-publicised love affair with one of the most influential women on the planet and the disapproval of his family in Pakistan soon drives Diana away and into the arms of one Dodi Fayed (Cas Anvar) as more drama ensues.
Two-time academy-award nominated actress, Naomi Watts, tries her best to bring authenticity to the monumentally tricky role and, to her credit, succeeds in some parts. That aura of vulnerability, that soft-spoken voice and the all too famous shy gaze beneath those long lashes is captured wonderfully; however, anything else that may have been buried deep beyond the façade is never fully explored.
Meanwhile, Andrews – of Lost fame – looks like he may have bitten more than he can chew; aimless and ineffectual pretty much the whole way through, he manages to overstate his every move and that spark of chemistry – which initially brought these two lovebirds together – is never really felt on screen.
Directed by Oliver Hirchbiegel, this could have been a heart-rending tale of one of the most beloved figures of our time. Instead, it fails to really utilise the endless well of inspiration that is impossible love.
Diana never truly grabs your attention; it’s ultimately uninteresting, unexciting and a little too inclined to the haziness of a soap opera.