The inner life of Diana Spencer has been imagined effectively in several recent speculative dramas, from TV’s The Crown to Pablo Larraín’s Spencer. Sundance documentary The Princess invites us into…
in the Premieres section, are the images of Diana surrounded by photographers, jostling to get near her, whether she’s stepping out of the car in London or hitting the ski slopes on holiday. Even if you’re well aware of how much she was photographed, it’s quite a shock to see just how little space the princess had to move in public; not so much followed as surrounded by scores of paparazzi.
The opening scene features startling footage from tourists in Paris who captured her doomed vehicle on home video — this, before the ubiquity of camera phones. The story then flips back to the coy 19-year-old nanny who’s being courted by the heir to the British throne, and more enthusiastically by the British press. We follow the excitement around the announcement of her pregnancy: punters toast in pubs and vox pops say they hope it’s a boy, or a girl .
In one of many ironic moments, commentators speculate that the press might now leave Diana alone — it was not to be. It’s a testament to Perkins and the team’s skill that this story feels gripping to those who, like me, remember it well. Those less familiar with her tale may find their jaws on the floor.
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