In 18th century England, Georgiana Spencer (Keira Knightley) has an arranged marriage, like many women of her class in that time, and becomes Duchess of Devonshire. Though initially hopeful, she soon learns that the Duke, William (Ralph Fiennes), is a cold and sometimes cruel man. She seeks happiness by following her feelings for politician Charles Grey (Dominic Cooper). Other affairs, illegitimate children, and heartache define the years for Georgiana.

CRITIQUE

Biopics have always been a part of Hollywood’s dramatic arsenal, yet the number of them focusing on women should see a serious increase. This year, though, theaters around the world played host to films that greatly advanced the telling of stories about women, and one such film was a biopic. The Duchess, while it does not succeed in overcoming an excess of melodrama, is otherwise a stirring film about uniquely feminine struggles.

Though many people would argue that the balance of power between men and women in our world (even in so-called “equal” American society) is still not perfect, the story of Georgiana Spencer does nothing so much as show that this situation was even worse in the past. The marriage between Georgiana and William the Duke begins unlike a lot of arranged marriages we’ve seen in films previously, in the sense that Georgiana isn’t forced into it.

In fact, Georgiana seems like she is willing to try to be happy, and at first her husband William does also, but soon his affairs overshadow his commitment, as does the fact that their marriage produced three children, all of them girls. When Georgiana becomes best friends with Bess (played by Hayley Atwell), she feels like she finally has something that is completely her own, but it is taken from her when William begins a lifelong affair with her best friend.

As the story advances, it feels a bit progressive when Georgiana asks for the same consideration to pursue politician Charles Grey. Unfortunately, William’s reaction is yet another example of how a woman’s power was limited almost completely at the time. After a horrible rape scene, William is fully condemned in the eyes of the audience, so when Georgiana feels safe being with Grey after bearing the Duke a son, it comes as no surprise when she is forced to give him up. Furthermore, she is forced to give up the child to William’s family to raise, because she will lose her other children.

As for the much-hyped “fashionable” aspect of Georgiana’s life, it is unfortunately only touched on lightly, as is her involvement in rallying for the Whig party. Her personal life is the focus here, and though it is dramatic, there are moments when melodrama feels only centimeters away. The Duchess is undeniably a woman’s story, though, and the genuine emotion is evoked effectively by a decent script and solid performances.

THE VIDEO

The Duchess is presented in anamorphic widescreen. The picture and color preservation is well done, creating a solid transfer. Optional English, French and Spanish subtitles are available.

THE AUDIO

The Duchess is presented in English Dolby Digital 5.1 Surround, a track that is mostly standard procedure, but gets the job done; dialogue and music/sound effects are clear and easy to understand, front center action is solid, while the surrounds are active only occasionally. Dolby 5.1 dub tracks are available in French and Spanish.

THE EXTRAS

How Far She Went: Making The Duchess: Various crew members, actors, and director Saul Dibb contribute to a wealth of interviews which make up the bulk of this behind-the-scenes documentary. There is a lot of discussion about the characters of Georgiana and the Duke, while the authentic locations such as the Old Vic Theatre in Bristol are also covered here. It’s interesting that Chatsworth House, the Devonshire home, was used in another of Knightley’s films, Pride and Prejudice. The viewer also learns a bit of trivia concerning the ordeal of wearing a two-foot high wig in a bath. This documentary is quite a good bonus feature.

Georgina in Her Own Words: This is an excellent extra that features producer Gabrielle Tana’s visit to Chatsworth House (the house of the Devonshires) with Amanda Foreman, the author of the book the film is based on. Together, they read a few of Georgiana’s actual letters and discuss the real person as revealed in those words.

Costume Diary: Costume designer Michael O’Conner talks the audience through much of the thinking behind some of the major costumes in the film worn by Keira Knightley. A few short clips from the scenes, a brief comment from Keira, and on-set footage punctuate his discussion. Most interesting is when he points out that the characters of Georgiana and Bess start out in light and dark-toned clothing, respectively, and then both turn to light as they become like sisters, and then finally switch to the opposite from where they started to symbolize their journeys throughout the film.

FINAL THOUGHTS

Though sporadically imperfect in script and tone, The Duchess is still an entertaining female-centric film. The performances and production values rarely leave anything but a good impression. The extra features are small in number, but add a lot to the viewer’s understanding of the film. Period drama fans and a lot of women in general should give The Duchess a consideration.