王冠第一季

原文链接Series one, episode one: Wolferton SplashThe series opens with King George VI spewing blood into a lavatory pan, to indicate that he is a sick man. Before the opening credits, there is a scene in which the King invests Prince Philip, as Duke of Edinburgh. Prince Philip is described as a Prince of Greece and ‘of’ Denmark. Then the King knights him as he bestows titles on him in the wrong order, and only then gives him the Order of the Garter. There is a scene in which the King uses the ‘C’ word. We are introduced to the Prince Philip character, portrayed throughout the series as a kind of ‘Jack the Lad’, smoking a cigarette on the day before the wedding and treating it all as something of a game.This episode introduces the various themes. We see tension between the King and Prince Philip, we meet Group Captain Peter Townsend hovering amorously around Princess Margaret, and Princess Elizabeth preparing for her future role, at work with her father.At the 1947 royal wedding Prince Philip’s mother is depicted in a nun’s habit – in reality she was a civilian then and did not adopt the habit (which she wore at the Coronation) until 1948. But this allows Queen Elizabeth (the Queen Mother) to describe her disparagingly as ‘the hun nun’. But then she calls her daughter ‘Elizabeth’ when it was always ‘Lilibet’. There are scenes in Malta of Princess Elizabeth’s carefree life, though her son, Prince Charles, was not in Malta at that time.The King has to have an operation, so we see Princess Margaret waiting anxiously with Queen Mary and the King with his doctors. There are gory scenes of the lung being removed and the lung is wrapped up in a copy of The Times (a story gleaned from Hugh Trevor-Roper’s letters). There is a scene where Sir John Weir, the well-known homeopathic doctor, informs the King of the gravity of his illness despite the operation. It is curious that this role was assigned to Weir. In reality he failed to give the King proper advice. He was even mistrusted by the admirable Dr Margery Blackie, the most distinguished of homeopathic doctors, who had little time for him.In 1948 Dermot Morrah, a respected Times writer, reported privately that the King was in danger of losing his leg: ‘One special source of anxiety is his personal physician – a homeopathic quack with a fascination for women, some of whom planted him on Edward, Prince of Wales, who bequeathed him to his successor as official medical officer. Of course they’ve called in good men as consultants, Cassidy and Learmouth especially, but this old menace is there all the time, and it was he who let the trouble go to this length before sounding the alarm.’It was as bad in 1951, in which this episode is set. Weir accompanied the King to Balmoral for the summer. The worldly doctor enjoyed himself shooting with Scottish dukes. Only when the local doctor was called in was the gravity of the King’s illness appreciated, resulting in him being whisked down to London to have his lung removed. Following that, those who understood such things realised that the King’s life was likely to be short.This episode depicts Churchill becoming Prime Minister again (in October 1951), and suggests that neither he nor the King are in good health, the King is forced to wear rouge (which was the case). In reality it is not certain how much the King was told about his state of health. The episode ends with Princess Elizabeth looking at the King’s boxes, and in a sense facing her destiny.A minor mistake: Princess Elizabeth’s car has the royal coat of arms on it. This is reserved for the monarch. Lady Churchill’s GBE riband at the wedding is too red and too wide.Series one, episode two: Hyde Park CornerEpisode 1 warned us that the King’s life was in danger. Episode 2 carries him off. It starts with Princess Elizabeth arriving in Kenya on the first leg of the proposed Commonwealth tour she is undertaking on her father’s behalf.We see the royal limousine arriving at an event and the Royal Standard fluttering on the front of it, the inference here being that Princess Elizabeth has already become Queen, but no, it is the wrong Royal Standard. Princess Elizabeth’s would have had a label of three white points. Soon afterwards a cocky Prince Philip mocks a Kikuyu chieftain for wearing a medal to which he is apparently not entitled, in fact a VC, though this is not explained. This was in February 1952 and yet Prince Philip was wearing a 1953 Coronation medal, which, arguably, might not have mattered, but for the fact that he was chiding someone else for wearing the wrong medal.As they arrive at Treetops for the fateful night of 5/6 February, the Prince Philip character does a Crocodile Dundee feat in seeing off a bull elephant. In reality there were no elephants there that day or night.The scenes in which Lord Salisbury is seen plotting to get rid of Churchill have not been well received by the Cecil family due to inaccuracies. He would never have elicited the help of Lord Mountbatten, for example. Anthony Eden did not go to Sandringham to ask the King to exercise his constitutional right to remove the Prime Minister from office on account of his incapacity to run the country properly, least of all in February 1952. Churchill himself is given a fictitious secretary called Venetia Scott, so that she can play a role in Episode 4.Following the King’s death, we see a gruesome scene in which Princess Margaret visits the body of her father during the embalming process. Churchill did not broadcast in the presence of the entire Cabinet, yet his actual words are as moving to listen to today as they surely were at the time. Tommy Lascelles, the Private Secretary, is invested with a most sinister role. He is given good lines, such as when he passes on the Queen Mother’s offer to Townsend to become her Comptroller at Clarence House: ‘I don’t expect you to accept.’Minor mistakes: It was not Lascelles who told Churchill of the King’s death, it was Sir Edward Ford; Queen Mary was told by Lady Cynthia Colville, not by a footman; it is unlikely that Princess Elizabeth had just written to her father before hearing of his death; Queen Mary did not come to Sandringham to curtsy to the new Queen (that happened at Marlborough House); there is no evidence that Lascelles caught Princess Margaret and Townsend kissing; contemporary evidence proves that the Queen Mother did not cry hysterically when she heard of the King’s death (she was far too stoical); Martin Charteris did not disappear from royal service immediately after the King’s death (he became part of the team, though no longer the new Queen’s actual Private Secretary). Some of these things are acceptable under the heading of dramatic licence.Series one, episode three: WindsorBack we go to 1936, seeing Princess Elizabeth and Princess Margaret playing just before their uncle, King Edward VIII, broadcasts his Abdication speech. There is no way that Queen Mary would have come into the room to see the King to try to dissuade him from broadcasting. And Mrs Simpson was not hovering in the background as he made that speech. In reality she was in Cannes. In the real abdication speech he was announced as ‘His Royal Highness Prince Edward’ not as Duke of Windsor.Presently there are many scenes involved with the aftermath of King George VI’s death, the young Queen wearing black and sometimes a black veil, and Tommy Lascelles becoming ever more the dominant figure in the Palace.Two big issues are explored to show how Prince Philip no longer has any say in the running of his family. There are many scenes of the redecoration of Clarence House, and he wants the family to stay there. He insists that the Queen puts this proposal to Churchill. The other issue is the family name. It is understood that, in real life, the Queen and Prince Philip would have preferred to stay at Clarence House, which was the perfect London home for a young family, not too big, and with a well-sized garden. Buckingham Palace has always served multiple purposes: a series of state rooms, offices for members of the Household, and the King and Queen’s rooms along a long corridor on the Constitution Hill side. It must have been a bit like living in an Edwardian hotel. But Churchill insisted that the monarch must live in the Palace, and so they moved in on 5 May 1952. The Queen Mother moved into Clarence House on 18 May 1953.The name issue was another genuine cause for Prince Philip to be upset. As seen in this episode, Lord Mountbatten, curiously dressed for dinner in his own home (Broadlands) as an Admiral, boasts, with some justification, that the House of Mountbatten now reigns in Britain. Normally the male who marries a Queen Regnant gives his name to the new house, hence Queen Victoria was the last Queen of the House of Hanover which became Saxe-Coburg when she married Prince Albert in 1840. Prince Ernst August of Hanover was at Mountbatten’s table in 1952 and did not like what he heard. He informed Queen Mary who called for Jock Colville, then Private Secretary to Winston Churchill. The Prime Minister duly informed the Queen that the Royal House must be called the House of Windsor. There is a fictional scene in which the Queen reads out this declaration to the Privy Council.It is true that Prince Philip was livid about this though, in reality, he wanted it called the House of Edinburgh, rather than Mountbatten, the preferred choice of his ever-manipulative uncle. Harold Macmillan recorded that Prince Philip wrote a well-reasoned memorandum making his case, but the Government would not countenance the Mountbatten name being used. In opposing Prince Philip, ministers such as Macmillan were keen to send ‘a shot across his bows’, to keep the young consort in his place.The Duke of Windsor comes over for his brother’s funeral, and the series makes much of the newly styled Queen Mother’s hostility to him. The Duke of Windsor also wants various things. There is a lot of bargaining in this episode. The Queen asks Churchill to do her a favour by informing the Cabinet about the Mountbatten name, claiming that she is keeping him in office by agreeing to a delayed Coronation. In fact the Coronation was always planned for June 1953 as it takes a long time to arrange such a ceremony.Then Churchill asks the Duke of Windsor to help put various points to the Queen – for example to be an intermediary over the other two issues of this episode, the family name and the move to Buckingham Palace. In exchange, the Duke wants to retain the allowance King George VI promised him (which ceased at the King’s death) and again demanded an HRH for the Duchess. There is a curious scene in which three contrasting aspects of love are explored – we see a sequence with the Windsors dancing romantically, the Queen and Prince Philip at the opera (where he takes her hand), and Princess Margaret popping in to Townsend’s office to kiss him with some passion.The Duke of Windsor then lunches with the Queen, which did not happen in real life, and puts Churchill’s two points to her. Most erroneously, we find the new young Queen turning to the Duke of Windsor for avuncular advice. He is presented as a sage and explains in the almost Shakespearean language the scriptwriters give him why she, as a monarch, must move from Clarence House to Buckingham Palace.Alex Jennings, the actor, looks incredibly like the Duke of Windsor, but the real life Duke never delivered such Shakespearean oratory. Nor would the real Queen ever have asked for advice from a man so patently incapable of giving it.The Duke of Windsor had been immensely tiresome ever since the Abdication in 1936, and Tommy Lascelles had seen him off on more than one occasion, most effectively in 1945. The Royal Family felt gravely let down by the Abdication, and Lascelles wrote at one point in the 1940s that any appearance in Britain by the Duke would have a grave effect on the health and peace of mind of George VI. Later on, in real life, the Queen was courteous to her uncle, and various rapprochements were made before he died, but the trouble with the Duke of Windsor was that if he was given an inch, he would take a mile.In other themes, we see Prince Philip asking Group Captain Townsend to teach him to fly, a theme followed up in the next episode. He did learn at White Waltham, near Maidenhead, but was taught by Flight Lieutenant C.R. Gordon, of Cheltenham. He received his wings from Air Chief Marshal Sir William Dickson, on 4 May 1953, having flown for 90 to 100 hours.The film-makers also introduce the idea that Prince Philip bullied Prince Charles, which is again addressed in later episodes.Minor mistakes: Prince Philip was a descendant of the royal houses of Greece and Denmark, but not of Norway. King Haakon of Norway (1872-1957) was a Prince of Denmark who was given the Norwegian throne in 1905.A recurring mistake throughout the series: All the characters arrive at Buckingham Palace through the ceremonial front gates. Normally they enter via the gate to the right near Constitution Hill.Series one, episode four: Act of GodThis is a curious episode based on the great fog that descended on London between 5 and 9 December 1952. This fog caused some spontaneous burglaries and one murder. London was perfectly used to fog, so it was not treated as a particular emergency until much later when it was estimated that between 4,000 and 12,000 people died – though most of them had breathing problems or were very old. Most of this episode is fictional and did not happen. Obviously the scenes involving Churchill’s fictional secretary, Venetia Scott, were made up. She is killed when hit by a bus, but since there was no public transport, other than trains on the London Underground, due to the fog, this could not have happened.The film-makers then involve Churchill failing to take action, the question of Clement Attlee, the Leader of the Opposition, potentially turning the situation to political advantage, and Churchill’s decision to visit a hospital during the crisis, but all this is fiction too. Interestingly the fog did not rate a mention in Martin Gilbert’s official biography of Churchill.The other scenes involve Prince Philip learning to fly and Government annoyance at this. Queen Mary falls ill and takes to her bed, attended by Sir John Weir. The Queen walks through the fog to visit her ailing grandmother to discuss what is expected of her as a monarch.Series one, episode five: Smoke and MirrorsThere is a flashback to 11 May, with George VI explaining the significance of anointing in the Coronation ceremony, and talking of the weight of the crown, both actual and symbolic. The action then moves forward to 1953, with the Queen trying on the same crown before her Coronation.Queen Mary falls gravely ill, which brings the Duke of Windsor over. In this series he comes from France, though he actually came with his sister, the Princess Royal, from New York. There are lots of opportunities for him to complain to the Duchess of Windsor about his family, his mother and his treatment. The Queen is warned by the Queen Mother to be wary of the Duke – ‘like mercury, he’ll slip through the tiniest crack.’ During his visit, the Duke is summoned from Marlborough House to Lambeth Palace where he finds the Archbishop of Canterbury, Tommy Lascelles and one other, ranged against him explaining why he should not attend the Coronation and that the Duchess would not be invited. The Duke is furious, but he agrees to put out a statement explaining why he won’t be there.While he is at Lambeth Palace, a message comes through that Queen Mary has died. In reality the Duke was not at Lambeth Palace. Her funeral is shown (with the Royal Standard on her coffin, not her personal standard).In real life, the question of the Duke’s possible attendance preoccupied the Archbishop of Canterbury as early as November 1952 and he raised the matter with the Queen at lunch. It was agreed that his presence ‘would create a very difficult situation for everybody, and if had not the wits to see that for himself, then he ought to be told it.’ Churchill took the line that while it was understandable that the Duke would wish to be present at family funerals, it would be completely inappropriate for him to attend the Coronation of one of his successors. Tommy Lascelles wrote to the Duke’s lawyers making it clear that no summons would be forthcoming. A statement was prepared for the Duke to issue to save face, but he must have alarmed the British Government by giving an interview at Cherbourg in which he said he might well be in England at the time of the ceremony. As it happened he and the Duchess stayed in Paris and watched it on television with friends, a scene recreated in this episode. We see the Duke explaining the proceedings in the Abbey, again in Shakespearean phrases, to a group of undistinguished guests. The episode ends with him playing his bagpipes outside the house, with tears in his eyes, presumably to hint that he is regretting all that he discarded.The other main theme in this episode is the role of Prince Philip in the preparations and also in respect of the part he intends to play in the ceremony. Here he only agrees to chair the Coronation Committee if he has total control and we see him coming out with all sorts of modern ideas for the day, such as inviting Trade Union leaders and businessmen to take part. He is told that some things cannot be changed. There is a row with the Queen and he tells her he refuses to kneel before her to do homage. In the end he is obliged to do so, but he is given credit for insisting the ceremony be televised.Having written a book on the Coronation and delved into the Archbishop of Canterbury’s papers I can testify that these reveal the Archbishop of Canterbury, pushing Prince Philip out as much as possible. He pronounced: “There must be no association of him in any way with the process & rite of Coronation.” Yet they also show that Prince Philip was quite happy to do fealty after the Archbishop (when he could have been expected to go first) and that he presented a silver gilt wafer box to the Abbey, and a chalice and paten to Lambeth as a form of offering to respect taking his place next to the Queen during the communion.Unlike other flaky consorts such as Prince Claus of the Netherlands and Prince Henrik of Denmark, Prince Philip was raised within the Royal House of Greece. But for the birth of the future King Constantine in 1940, he would have ended up as King of Greece in 1964, and marriage with Princess Elizabeth would have been out of the question. In real life he adapted quickly to his changed circumstances, but in The Crown, they put him in conflict at every opportunity.The Coronation scene was a wonderful opportunity to create a scene of great visual magnificence but it fell seriously short in regard to a great number of details. Earl Mountbatten, seated in the front row of the Royal Box (he was not in the front row) appears dressed in ducal robes, and is not wearing his Garter collar. Nor is the supporting actor representing the Queen’s uncle, the Duke of Gloucester. The Marquess of Salisbury carries the Sword of State (which he did at the actual Coronation), but he crowns himself with an Earl’s coronet. The Dowager Duchess of Devonshire (Mistress of the Robes) fails to put on a coronet. The oath was not administered during the anointing but before it. There are a number of peeresses sitting where the Peers sat in reality. Thus this scene is one of the least convincing in the series.The St Edward’s Crown with which the Queen is crowned was far too big, but this may have been intentional to demonstrate the burden the Queen was assuming.Series one, episode six: GeligniteThe theme of this episode is the Princess Margaret – Peter Townsend love affair and their attempt to marry in 1953. The opening scene shows the Queen and Prince Philip going to the Coronation Derby, but we then see a newspaper office where an unshaven journalist has picked up what he realises is a huge scoop (hence ‘gelignite’) – Princess Margaret having been observed picking some fluff off the jacket of Group Captain Peter Townsend at the Coronation – he being by then a divorced equerry. Princess Margaret and Townsend are on the point of accompanying the Queen Mother on an official visit to Rhodesia.The Princess invites the Queen and Prince Philip to dine with her and Townsend and they believe that they have her blessing, but they soon run up against the establishment. Tommy Lascelles invokes the Royal Marriages Act of 1772, which stated that no lineal descendant of George II could marry without the consent of the Sovereign, and so Princess Margaret is asked to wait for two years. The series suggests that the Queen deceived her sister by appearing to support her wish to marry him and then eventually forbidding it. The film-makers imply that the Princess never forgave her sister, a theme which recurs in later episodes. The essence of this episode is more or less correct, but the sequence of events is somewhat muddled. Since there are also a number of contradictory accounts left by Peter Townsend, Tommy Lascelles, and Princess Margaret to her biographer, it is hard to settle on a true version, since that true version depends on which source is trusted.Lascelles appears at his most severe in this episode, a Satanic and menacing figure. This is an interpretation that might well have resonated with the real life Princess Margaret, not to mention the real life Peter Townsend.There is no doubt that Princess Margaret fell in love with the Group Captain. He was the trusted equerry of the father she adored and a Battle of Britain hero. He was rather a gentle figure. However, as Lascelles made clear to him in no uncertain terms, he had been placed in a position of trust and responsibility. He was a married man with two sons and he was considerably older than the Princess. The real Lascelles said of him: ‘He has Theudas trouble’, a reference to the Acts of the Apostles: ‘For before these days rose up Theudas, boasting himself to be somebody.’ Churchill made it clear that the Queen could not sanction the marriage. So Townsend was sent away to Brussels, where he stayed for two years. By the time he returned in 1955, when the British public were agog to know whether the marriage would take place, the path of love had completely run its course. This is the main theme of Episode 10.Minor mistakes: The costume department gave Townsend his CVO, but failed to give the actor playing Lascelles any medals or Orders (by 1953 he was entitled to a GCVO, CMG, MC and various other medals); in Rhodesia, there was a Governor-type figure in a Guards tunic with a GCB, but only bar ribbons for medals. At one point we see the telephone switchboard, which includes Highgrove House. This is the house that the Duchy of Cornwall bought for Prince Charles in 1980, so it would not have been on the switchboard in the 1950s.Series one, episode seven: Scientia Potentia EstIt is 1940 and the Princesses are with their French governess. Princess Elizabeth goes to Eton College to be instructed by the Provost, Sir Henry Marten (not Vice-Provost as stated in the series). This leads to the Queen wishing to be better educated – knowledge is power - and as the story moves on into 1953, one of the themes is that she wants a tutor to help expand her general knowledge. Martin Charteris such a figure called Professor Hodge, but he is a completely fictitious character. The Queen did not seek a tutor to help her and nor would she ever have taken advice over constitutional matters from a figure outside the Palace system.Retirement, or rather non-retirement, is in the air. Churchill is getting old and rather desperate, but refusing to go. The Anthony Eden character is ill in Boston, rather luridly so, taking injections, the implication being that he was almost a drug addict (a theme which gets worse in subsequent episodes). Then Churchill has two strokes. Evidently the Queen is not informed and so the fictitious Hodge urges her to summon Churchill and Lord Salisbury to tick them off like recalcitrant schoolboys. The Crown plays out the two wiggings. Symbolically this is to demonstrate that the Queen is getting on top of her role as an assured constitutional monarch.Tommy Lascelles is also about to retire. In this series, the Queen wants her former Private Secretary, Martin Charteris, to take over and even offers him the job. He and his wife (Gay in real life, but here carelessly called Mary - the name of his daughter), go to look at the Private Secretary’s new home at St James’s Palace and have a tree trimmed outside it. They even say the house will be good for ‘the girls’. (In real life they had the one daughter and two sons). Michael Adeane hears about this, is aggrieved, and complains to Lascelles, who engineers that he does succeed him and not Charteris. Once again Lascelles proves himself more dominant and the Queen’s private wishes are set aside.This is inaccurate. It is traditional that the monarch’s serving Private Secretary stays on for a few months at the beginning of a new reign to help with the transition as did Lascelles until after the Coronation, retiring at the age of sixty-six on the last day of 1953. Michael Adeane and Martin Charteris were working as a team (along with Edward Ford, who is not portrayed in the series). Michael Adeane was always the natural successor, and there was no fuss. He took over.In this episode, the film-makers have put a 1972 story into a 1953 context, presumably so that they could use the Lascelles figure. There was a fuss over Adeane’s successor when he retired. At that time Charteris was the natural successor but Lord Cobbold, a former Governor of the Bank of England, wanted to sweep away the Guards officer Old Etonian types who held sway in the Palace and replace them with more meritocratic types. He tried to reject Charteris in favour of Philip Moore. But Charteris went to see the Queen and asked to take over. She immediately agreed, and he proved to be an inspired Private Secretary, who succeeded perhaps better than any other Private Secretary in presenting her to the world as she really is. He served until 1977.The message that emerges from this episode is that the Queen is conscientious, prepared to do her homework and research, with a knack for discovering the truth when it is kept from her – as, for example, with Churchill’s two strokes (though Lord Salisbury is unlikely to have been willfully withholding this information from her).Lascelles is well played in the series, though his older daughter (now 94) has said that his hair parting is wrong and his moustache too big. By curious misfortune, the actor playing Michael Adeane looks more like the real life Martin Charteris.Series one, episode eight: Pride and JoyThe King used to say of his two daughters: ‘Lilibet is my pride, and Margaret my joy.’ (This is something first published by me in my biography of the Queen Mother and therefore explains the title of this episode). Here there is a complete jumble of the real life facts. The episode starts with a scene where the Queen unveils a statue to King George VI in the Mall. This was in fact unveiled on 6 October 1955. But suddenly plans are being made for the Commonwealth tour of 1953 and 1954, so the story moves back in time.There is particular discussion about Gibraltar as a place that could be dangerous. This was quite true. There were threats from the Spanish and for a visit of less than two days, there were detectives from Scotland Yard operating under cover there for several months. There are some scenes from the Commonwealth tour demonstrating the Queen’s determination to undertake it all, and the strain this put on her. At one point the press see the Queen and Prince Philip emerging from a house after a row. Rightly, they stress the success of the tour.The film-makers decided that while the Queen was away on her Commonwealth tour, the country would be run by Princess Margaret, rather than the Queen Mother, enabling them to use her as a modernizer breaking all the rules and introducing a spontaneous and touchy-feely (quasi Diana, Princess of Wales) approach to being Head of State which, not surprisingly, upsets everyone. She rewrites a speech, suiting her wayward personality and introducing more colour into it, and delivers this at an Ambassadors’ reception (curiously British Ambassadors serving overseas, in Washington and Athens, who appear to have flown in for this occasion). She gets the guests laughing. The point they seek to make is that Princess Margaret thinks she would make a better Queen than her sister, more in tune with the changing times. The Charteris figure gets more and more worried as she chats to miners, gives spontaneous interviews to the media in which she mentions her affection for Townsend and takes a dig at the Queen. She gets ticked off by Churchill who begins to detect a crisis arising, akin to the Abdication. When the Queen comes back, Churchill alerts her to Princess Margaret’s behaviour.None of the above happened and is ultimately tabloid invention. Nor do I subscribe to the idea that there was bitter jealousy between Princess Margaret and the Queen. Princess Margaret always supported her sister.To achieve this, they blur the dates and have the Queen Mother out of the way, buying Barrogill Castle (later renamed the Castle of Mey) in Scotland, something which actually happened a whole year earlier, in 1952. Lascelles (who would by then have retired) tells the Queen Mother what her duties will be, but she tells him she wants to be away. The episode twists history by suggesting the Queen Mother was prepared to shirk all her responsibilities.In reality the Queen Mother was very much in London while the Queen was away, not least looking after Prince Charles and Princess Anne, who stayed with her at Royal Lodge most weekends (when she was not away racing) and at Sandringham for a long Christmas holiday. She was the senior Counsellor of State during the Queen’s absence. Counsellors act in tandem and Princess Margaret usually assisted her. But Churchill had the same kind of audiences with the Queen Mother as he would have done with the Queen, but not so regularly. The film also has Princess Margaret being advised by Martin Charteris, when in real life, he was travelling with the Queen and Prince Philip.As to the Castle of Mey scenes, the Queen Mother did not ride horses after the early 1930s, so to see her cantering along the beaches is somewhat strange. Nor is it likely that the castle’s funny old owner, Captain Imbert-Terry, would not have recognised her. While she stays with the Vyners, she addresses the issues of her early widowhood. As this is meant to be late 1953, and not 1952, this does not convince – even with dramatic licence.Minor mistakes: At a fitting they dress Prince Philip in the naval uniform which he wore but once – at the Coronation, an outdated uniform with epaulettes; later, he wears a Garter riband and bar medals, which is incorrect. The Caribbean Governor in white is wearing what might be a curious interpretation of a military GBE riband along with a huge GCMG star. When Princess Margaret gives her speech, the guests are wearing Orders, but she is not.Series one, episode nine: AssassinsIn London in 1954 Jean Wallop, a private person still very much alive, arrives in a restaurant to dine with Lord Porchester (later 7th Earl of Carnarvon). He proposes to her. She accepts on one condition – that he does not still hold a torch for ‘her’ – i.e. the Queen. I have it on impeccable authority that the future Lady Carnarvon did not even know that he knew the Queen when she met him. The outcome of this scene is that he tells her that for the Queen there was only ever Prince Philip, and she (his bride to be) is the only one for him. The Porchesters were married in January 1956.The Crown suggests that Porchester was the man many wanted the Queen to marry, and they hint that she would have been happier with him than with Prince Philip. For the record, the Queen Mother originally wanted Princess Elizabeth to marry a Grenadier Guards officer. The late Duke of Grafton springs to mind. But from very early on, she set her heart on the good looking Prince Philip. Soon after he returned from war, they were engaged. The Queen Mother told Sir Arthur Penn: ‘Won’t the Grenadier Guards be disappointed?’ They were and at first refused to have Prince Philip as their Colonel.The episode depicts Porchester ringing the Queen late at night, with a certain number of double entendres, his wife-to-be coming through from the bathroom. The Queen’s love of racing is emphasized as is Prince Philip’s boredom with it. This theme is rather dropped as the episode goes on, though in one scene, the Queen and Prince Philip watch a mare being covered, with Lord Porchester observing from afar and with some predictably cheap lines. Afterwards Prince Philip jumps out of the Land Rover in a rage. This is followed by a scene back home with a declaration of love by the Queen for Prince Philip.Lord Carnarvon was a close adviser to the Queen as her racing manager and she often stayed with him and his wife to visit studs in the Berkshire area. Both she and Prince Philip flew down from Balmoral to attend his funeral in 2001.The Graham Sutherland story is well told. Sutherland was commissioned to paint Churchill’s portrait to be presented to him in Westminster Hall for his 80th birthday on 30 November 1954. Peter Morgan is on firm ground here as it is within the political domain. Intermingled with this is the theme that Churchill should stand down. There is a fictional scene where Eden visits Churchill at Chartwell and bids him to give way in a histrionic, hysterical way – presaging the recurring theme that he was some kind of junkie. As to the portrait itself, it was revealed after her death in 1977 that Lady Churchill had destroyed it. In 1957 she described Churchill’s reaction to the painting in a letter to Lord Beaverbrook: ‘it wounded him deeply that this brilliant … painter with whom he had made friends while sitting for him should see him as a gross & cruel monster.’There is a partly fictitious version of the speech he gave in Westminster Hall in which he teases the audience that he is about to retire and that his successor, Anthony Eden, is to hand. It appears that he then promptly resigns and with the brutality of the political system, as he leaves the Palace, Eden’s car draws up. The Queen’s speech at Churchill’s farewell dinner was taken from a private letter from the Queen to Churchill after his resignation and not delivered as such on the night. As we listen to it, we see another scene – Lady Churchill presiding over the burning of the Sutherland portrait.In reality Churchill did not resign immediately after his 80th birthday in November 1954. He hung on in office until April 1955.Series one, episode ten: GlorianaThe episode reprises the events of December 1936. Edward VIII agrees to see his brother, the Duke of York, but not the Duchess (there is no evidence for that). Then the new King informs his daughters that their uncle has put love before duty. He tells them never to let each other down thus introducing the theme that there could be tension between them later on.A Royal Standard is hoisted over Balmoral. It is Princess Margaret’s 25th birthday (21 August 1955) and she declares she still feels the same way about Group Captain Townsend. It seems possible that she can now marry him. But the Queen discusses the Royal Marriages Act with Michael Adeane. He invokes a different version of the situation. He mentions that both Houses of Parliament need to approve and the need to wait for 12 months. Still under the illusion that she is free to marry, Princess Margaret wants to announce it.Another scene shows Prince Philip teaching Prince Charles to fish so that we realise that he is quite tough on the boy. The Queen Mother voices the opinion that Prince Philip is taking it out on Charles due to the frustrations of his life. The Crown likes to think that the Queen Mother is very thick with Lascelles, in his retirement. She relied on him a bit after the King’s death but Lascelles took a dim view of her philosophy of life, considering it was best summed up in the hymn: ‘the rich man in his castle, the poor man at his gate’. But it gives them the idea that Prince Philip was sent by the Queen to open the Olympic Games in Melbourne, Australia in November 1956 to get him out of the way, to get him away from bullying his son and in the hope, as expressed clearly in this episode, that he would come back ‘changed’. But this all happens in August 1955 and he did not undertake the voyage until October 1956.The second and final round in the Princess Margaret – Peter Townsend drama is played out. We see headlines speculating as to whether or not she is going to marry the Group Captain.Apparently Prince Philip is somewhat in league with Princess Margaret over the marriage question. Townsend returns and they run together in a passionate embrace. Then come the problems, the involvement of the Attorney-General, the threat that Lord Salisbury will resign if the marriage takes place, the Queen saying she will support her in any way she can, but then that she would be deprived of money and titles, and have to live abroad for several years as Mrs Peter Townsend. Princess Margaret claims the country is on her side. The invented words of their father about mutual support are repeated by the Queen.Then it all gets worse, with the Cabinet advising against the marriage, the Archbishop of Canterbury and other Bishops reminding the Queen that she is Defender of the Faith and of the oath made at the Coronation, and finally the Queen seeking advice from the Duke of Windsor in France. He tells her ‘You must protect the kingdom’. And so, in this episode, the Queen’s line is that Princess Margaret cannot marry Townsend and remain part of the family.In reality, Eden did advise the Queen at Balmoral, but there was no involvement from the Archbishop, and the Duke of Windsor was in no position to pontificate about the role as sister and Queen, and duty to the realm.The film-makers maintain that Princess Margaret broke off from Townsend because she had been forbidden to marry him. Furthermore, she tells him she will never marry anyone else. And then Townsend makes a public statement, in fact reading much of the written statement that in reality Princess Margaret issued to the press. He then returns to Brussels.In truth, the decision was a mutual one between Princess Margaret and the Group Captain, largely based on the fact that Lascelles’s separation plan had worked and the love between them had died.None of the characters are happy at the end of this episode. Princess Margaret is seen depressed at parties, and Peter Townsend sitting forlornly alone in his apartment in Brussels. Prince Philip is angry at being sent away on the long tour.The situation with Nasser in Egypt is flagged up during this episode, meetings with Eden, more pills being taken and in the end, Anthony Eden slumped in front of burning cine-film of Nasser, having just stuck a needle full of drugs into his arm – followed by an image of the Queen posing in tiara and evening dress, next to the Crown Jewels which have been brought to the Palace for effect. She is shown as an assured and confident young monarch while the ever-frustrated Prince Philip drives off down the Mall in his open care, all alone, looking distinctly fed up.I should be grateful that it is Cecil Beaton who gets the last word in both this series and Series two, extolling the virtues of monarchy with Shakespearean lines. Nevertheless Claire Foy’s Queen looks ominously sad.

我自己，一直是对君主制有感情的，欧洲的基于基督教下的君权神授。

这种感情一直是隐性的，从小时候开始。

说几个印象深刻的时刻吧；第一集的结尾，乔治六世和爱丁堡公爵一起在湖面上猎鸭，他们向着前方的一团浓雾不断的开枪。

乔治六世的死讯传来，玛格丽特公主骑着马狂奔。

这个镜头的力量感十足，摄影组和演员都厉害。

乔治六世和小女儿一起唱歌，这段戏前面切了很多近景，让观众以为是两个人的场景，直到这个镜头后切了中景，机位向右摇，才显露出后景的人群。

前面的唱歌镜头两个演员的表演很深情。

[img=3:C][/img]（此图片因法律法规不允许出现///(^v^)\\\）这个是全剧最让我动容的一个镜头，看完侄女加冕仪式的爱德华八世吹起了家乡的风笛。

关于这个镜头的力量，前面做了好几次铺垫，温莎城堡前每日清晨的乐手，法国记者对巴黎的温莎公寓的参观。

这个镜头嘛，有点爽文的意思，但是我角色带入的话，会觉得很感动。

这是第九集里的内容，关于丘吉尔辞职，关于他的后期政治生涯，都浓缩在这个镜头里

整部剧，可以当做历史科普，回望

第二集 1.国王驾崩，全国上下的悲痛之情，让人感受到在英国国王女王的重要性和威望地位，更让人感受到身为国王的庄严感。

2.女王上任，伊丽莎白年仅二十多岁便委以重任。

在她父亲刚刚去世的悲痛之中，她就要剥离情绪，去承载她作为女王的巨大使命。

3.两个非常深刻的感受：（1）欲戴王冠，必承其重（2）穷则独善其身，达则兼济天下（3）国王女王职位本身的庄严威严重大第三集1.前国王返回英国，他欲榨取王室财富，同时给自己的女人加名声。

让我看到王室家庭内部负责的复杂关系与利益相争。

2.前国王与首相之间有党派勾结，利益互补互相利用，让我见识到了党派之间的勾结对立状态。

3.首相与女王之间的商议，并不完全单纯为了国家利益，首相的提议中也包含个人利益和党派斗争。

女王非常明晰果断，懂得划清界限。

4.菲利普亲王由于是女王的丈夫，他被剥夺了自己的姓氏、事业、想要的家庭生活。

女王也因为王冠，被剥夺自己身为一个女性、妻子、母亲应该得到的普通快乐。

第四集1.这一集讲的是伦敦的超级大雾事件，没有想到这个气象灾害背后，曾经还隐藏着那么大的政治危机。

2.内阁不同党派的官员，为了推翻丘吉尔，利用这次雾霾危机，勾结谋划，隐藏信件、向女王进谏等等。

3.女王作为统治者，被太后教导，作为统治者，就应该不表态不表明任何看法，“中立看似是最轻松的事情，其实是最难的事情，因为中立是最没有人性的。

”女王不禁再次质疑，自己作为一个自由个体的自由。

4.丘吉尔如何将自己从“下台危机”中解救出来，也充满了政治家的机警与谋略呀！

佩服。

第五集《女王的加冕礼》1.涂圣油的环节，再次让人感受到庄严肃穆与神圣。

即使其他环节可以直播，这个部分是权威而神秘的。

2.我至今有点无法理解前国王温莎这个角色的含义，他为何不能兼得爱情与王位？

他主动放弃王冠，为了心爱的女人。

在爱的方面，这是伟大的；但在王冠方面，他是懦弱的。

第六集《玛格丽特殿下的丑闻爱情》1.玛格丽特殿下与离异空军少校的爱情与婚姻，引起了舆论的轩然大波，甚至威胁到王室在人们心中的信誉。

这让我意识到了为何前几年搜到一些关于英国王室的新闻，如果王室成员生活奢靡淫乱，会遭受多大的王室信用危机。

2.伊丽莎白既是一国之君，又是姐姐，她在期望妹妹幸福与保卫王室信誉之间进退两难，最终不得舍弃私人情感，为大局皇室利益为重。

第七集《知识就是力量》1.女王从小只接受过宪法方面的知识教育、从未接受过通识教育，这让她很苦恼苦恼于自己每次和政客打交道时十分被动。

她觉得作为一个女王，自己不应该学识粗浅，不知道这些。

因此，她现在开始聘请教授，接受普通的教育。

2.首相和外交大臣隐瞒女王他们的病情，女王在教授的鼓励下，给他们进行训诫——女王得到了她理应得到的尊重，且是女王自己争取来的。

第八集《Pride and Joy》1.原来女王的姐妹之间也会产生日常姐妹之间会有的隔阂，那就是妹妹羡慕姐姐的优秀与受到的关注，姐姐羡慕妹妹的自由与快乐。

正如女王羡慕玛格丽特享有的自由与个性，没有王权的束缚；玛格丽特则深感自己活在女王姐姐的阴影之下，自己总是被忽视的那一个。

正如玛格丽特所说：“原来我们都在羡慕对方的生活。

”同时，也通过这一集女王姐妹之间的矛盾，让我更理解了温莎公爵与前国王之间的兄弟之矛盾。

2.这一集通过玛格丽特殿下代表女王的几个片段，向我们表示了王权不能个性，个性就有推翻王朝的危险。

更让人感受到王冠之重，王冠表示威严、沉默，没有个性，不能有个性。

第九集《刺客》1.原来女王也有绯闻，她和菲利普亲王的婚姻也会出现问题。

女王和马厩者之间产生了一些特别的情愫，而她与菲利普之间的联结减少了。

这也引发了他们最后的争吵。

2.丘吉尔首相在艺术家给他画做的画以后，首先是气愤艺术家将自己画的如此衰老和松弛，但在和艺术家的争执中他逐渐接受自己变老的事实。

于是，他主动向女王退位。

3.无论丘吉尔首相在为期间犯了多少错误，他本身性格的缺点，但终掩盖不住他对英国的伟大贡献与成就！

这在晚宴中女王对他的评价与致辞中便可以看见。

第十集《荣光女王》1.这一集看得好沉重啊，感觉女王还有王室的每一个人都身担沉重的压力。

女王因为整个国家的指责无法守卫自己作为姐姐、妻子、母亲的责任，玛格丽特殿下无法选择自己爱谁的自由，菲利普亲王一直生活在女王的印象之下没有个人的自由。

2.在其中我看到了个人自由与集体利益之间的强烈冲突。

由于女王代表、象征、维护集体利益，她无法选择个人的自由。

这也是悲剧呀。

3.多少人曾向往王室的财富权利不识人间苦难，但他们的枷锁与牢笼又是多少凡人可以领会的呢？

PhilsumyNetflix的新剧王冠刚刚上线（11.4），我用了不到两天就追完了10集。

如果是别的电视剧，我或许会打个“剧透”提示；可是这部剧好像打不打都无所谓，毕竟"历史"已经书写完毕，我们欣赏的只是“故事”。

历史剧的好处之一就是它的连续性，以及背景的真实性，毕竟，“历史”。

就像莎士比亚的经典四部曲一样：理查二世，亨利四世，亨利五世上、下；王冠也有前传，如果看过《国王的演讲》的各位，根本就不需要做什么多余的背景介绍：为了美人放弃天下的爱德华八世；为了责任接任王位乔治六世；还有伊丽莎白·鲍斯-莱昂，乔治六世的王后，伊丽莎白二世之母，以及爱德华夫妇口中的“Scottich cook”“苏格兰厨子”；当然还有两位主角，或者说，主角与准主角，女王夫妇。

如此的人物放在一起所展现的剧情张力是巨大的，让人身临其境，感受他们之间的故事。

（当然这部剧还没有续集，因为。。。

女王还在“超长待机”。

）如果说“历史”更着重于光辉的、伟大的一面，那么"故事"则更喜欢聚焦于那些光明背后的阴影、脆弱。

比如说王夫：菲利普亲王，爱丁堡公爵。

很多人喜欢他的高大帅气，与女王的完美爱情。

这部剧里则更多聚焦与他的“脆弱”。

很多人知道他是希腊王子，可很多人都没注意到希腊是个“共和国”。

他的父亲，安德鲁王子（安德烈阿斯王子）是希腊国王乔治一世的第四子，很显然，继承顺位靠后。

1922年，希腊在与土耳其的战争遭遇惨败，安德鲁王子与政府大臣、军队指挥被关入大牢，等待枪决，最后英国派军舰前去协商，安德鲁一家才得以获释，而当时1岁的菲利普亲王是躲在橘子箱里，离开了他的“故土”。

安德鲁亲王对菲利普亲王也不怎么关心，喜欢花天酒地。

菲利普亲王更多的时候是与舅舅蒙巴顿勋爵在一起，当然，最后，他也把自己的姓氏改成了”蒙巴顿“所以当故事进行到公主大婚前夕，他放弃希腊国籍与王位继承权，改姓“蒙巴顿”，英王乔治六世赐予他那一连串头衔的时候，剧中的表现出他的轻松以及他感觉仪式的繁复，忙于应付。

我想现实中的菲利普亲王放弃的很轻松，因为他的那些希腊头衔就真的只是“头衔”而已。

他是一个没有家，没有故土的“孤儿”。

女王陛下：在故事开始的时候，女王其实很小女人，与在皇家海军服役的丈夫在一起，拿着摄影机拍着自己的丈夫，带着“迷妹"的小眼神，我想女王与其他"迷妹"不同的是，她真的与"男神"在一起了。

在乔治六世去世的时候，在丈夫的要求下，她正在给她的父亲写信，请求与丈夫一起回到马耳他，殊不知早已天人永隔。

到了决定女王尊名的时候，也正是预告片里所展现：“我的名字就是“伊丽莎白”，我们就别在这搞得过于繁复了”私人秘书站起身，对她说道：“女王万岁”从此，她不再是丈夫的迷妹，不再是众人宠爱的公主，而是女王陛下。

就像我之前提到的，这部剧展现的是历史之外的“脆弱”，也正是人的部分。

理论上大权在握，其实什么也做不了，总想发表意见，然后又不能发表。

“一事无成是最难的事”作为英国国教会的领袖，请大家不要忘记是亨利八世为了离婚而创建的，不仅不能用这个头衔去要求别人，反而经常被人限制。

连“爱情”都无法做主。

爱德华八世为了“爱情”放弃了王位，玛格丽特公主一心想跟父亲的秘书在一起，最后。。。

女王即位之前，跟工作人员说，我能不能把王冠借走，回家练练，工作人员一脸懵逼，“这本来就是您的”。

女王把5磅的王冠戴在头上，看着镜子中的父亲，那个准备加冕礼的父亲，两个人就这样看着彼此。

我认为一个非常重要的配角就是先王爱德华八世，温莎公爵。

公爵为了“爱情”放弃王位的故事，已经众人皆知。

这部剧里的公爵经常出现，回到伦敦，回到痛恨他的家庭身边，要求妻子的尊号，要求妻子能够与自己一起参加典礼，要钱；而我们的先王的要求总是被拒绝，然后他曾经的仆人们开始跟他提条件，先王勃然大怒，说你们这些奴仆敢跟我蹬鼻子上脸。。。

然后想想自己的处境，只好作罢，说，好吧，由我去劝女王，那个钱，你们赶紧汇给我。

剧中的公爵，有一只风笛，公爵夫人还特意向记者介绍，公爵只在思乡时吹奏。

终于，到了女王的加冕礼，公爵义务给身在法国的众人解说。

众人说，这典礼把女王变成了神，你是怎么会放弃成神的机会呢？

公爵答道，我拥有了最伟大的东西“爱情”。

公爵表面上对王位不屑一顾，对爱情崇拜至上。

可公爵真如他所说的那么伟大吗？

他真的把爱情放在祖国，家庭，王位之前吗？

我想公爵肯定也会后悔，也会流泪，也会思乡，因为他跟我们一样，也只是个凡人。

也正如我最喜欢的镜头之一，公爵一个人，在法国，在别墅的外面，吹奏着风笛，泪流满面。

剧中的王族待着无限的光环，可其实啊，他们也只是凡人罢了。

当严肃的乔治六世以如此不正经的方式叫醒裸睡的菲利普亲王，当菲利普亲王毫不吝啬的将圆润光滑的屁股直面镜头的时候，我彻底爱上了这部剧，觉得之前的担心都是多余的，“奈飞”完全掌控了英剧的精髓。

上次欣赏到马特的肉体，还是在BBC的《克里斯托弗及同党》中。

这种一本正经中的不成体统，太对我的调调。

英国王室对现代人来说，一直是神秘和高贵的象征，之前海伦·米伦主演的电影《女王》，以及把科林大叔推向奥斯卡影帝宝座的《国王的演讲》，都将温莎王朝的故事客观的呈现给观众，甚至连《唐顿庄园》也涉及到了爱德华八世早期的恋情！

而这次奈飞野心勃勃的要将女王的一生都拍出来，号称要换三位主演，并花费上亿英镑，不得不令人期待，尤其见到一大票熟悉的不能再熟悉的英剧演技派熟脸陆续现身，简直兴奋到极致，天知道我多爱他们！

小杜丽从卑微的女仆摇身变为伊丽莎白二世，

烛镇的Pratt姐妹中的妹妹当上了王太后，

而《克兰弗德》中朱迪丹奇刻板保守的姐姐成了玛丽皇后，

《皇家律师》中正直严明的大法官成了女王的机要秘书，

而女王未登基时候的秘书则是《唐顿庄园》里二妞最后的归宿。

论场面更是让人震撼，伊丽莎白夫妇走访非洲夜观动物迁徙，

乔治六世带菲利普在烟波浩渺中猎野鸭，

简直美得不像话，实打实的大片范儿。

还有我最欣赏英剧的一点是，感情从来都是隐忍的，完全没有国产剧中大哭大嚎，刻意煽情的场面。

剧中两个老男人的默默流泪，轻描淡写地把内心最深处无法和别人诉说的悲伤展现的淋漓尽致。

乔治六世意识到自己生命即将走到尽头，在生日会上，面对众人的祝福，悲从中来。

温莎公爵在美国和朋友一起看女王登基仪式的电视直播，一边解说一边吐槽，表面上不屑一顾，冷嘲热讽，而众人散去，他却在清晨穿上传统的苏格兰裙子，拿起苏格兰风笛，面对故乡的方向吹奏，在朝霞的映衬下，满眼的泪水。

是祝福，是嫉妒，是悔恨，是遗憾，是忏悔，都留给观众自己体会！

人生注定是艰难和无奈的，就算你生于王室，居庙堂之高，也不能事事如意，一个重病缠身，难逃生老病死，一个为了爱人放弃王位，背井离乡！

总之前半段看的热血沸腾，酣畅淋漓，终于有一部值得一看的好剧出现了耶，鼓掌撒花，奔走相告！

可是，可是后半部的节奏和剧情急流直下，高潮刚过就让人昏昏欲睡。

为了凸显女王王冠的沉重，编导费尽心机的制造女王和周遭人的矛盾，让我一度想弃剧。

先是夫妻矛盾，菲律普和亲随经常出去寻欢作乐，虽没直接表现，但无时无刻不在暗示这一点。

为了加深冲突，更是直接把女王的初恋情人搞了出来，女王还专门为了他增设一条专线，然后还把这位初恋情人的老婆也搞了出来和菲利普一起泼醋，真是酸到不行！

而冲突的爆发点竟然设在了女王为丘吉尔退位所设的宴席上，真说不上来这算巧思还是算狗血！

第二个矛盾是母女矛盾，女王因为教育问题莫名其妙的和母亲发火，而王太后由于压力过大竟然任性的“离家出走”，跑到海边想买下一个房子养老，和卖房老汉华丽丽的装了一大把B！

最后在和卖房老汉谈好价钱，打算签约的时候，有人过来接她回宫，她竟然二话没说就跟回去了，留下一脸懵B的卖房老汉，哎，煮熟的鸭子都飞了，早知道早一天签约嘛！

最大的冲突来自女王和妹妹玛格丽特公主的矛盾,这也是全剧最令我恶心的一个地方，为了所谓的喜剧效果，反反复复地制造冲突。

最后一集玛格丽特和彼得汤森简直令人反感到极点，最低级的三俗狗血片，一个已婚油腻军官爱上王室年轻公主，明明是荷尔蒙作祟，就别在这美化成什么神圣爱情了，赤裸裸的美剧商业套路，完全丧失了英剧的高冷和内敛。

并不对以后的续集抱有期待，美国出品的片子，为了创造更多的利润，经常狗尾续貂，从不懂得适合而止，“奈飞”已经快把《纸牌屋》毁完了。

而英剧大多短小精悍，很多剧集都是在最高峰的时候划下句点，令人虽不舍，但却回味无穷，美国佬真该好好学学这一点！

开片 乔治六世咳血（长期吸烟，患有肺癌）。

01:53 乔治六世患有口吃。

婚礼前，乔治六世授予菲利普一系列头衔：爱丁堡公爵、梅里奥尼斯伯爵、格林威治男爵，并允许使用“殿下”（His Royal Highness）作为称呼，授予“嘉德勋章”（国王可授予的最高个人荣誉，伊丽莎白比菲利普早一个星期获得勋章，表示比丈夫地位更高）。

1946年夏天菲利普向伊丽莎白求婚，订婚消息1947年7月9日才对外发布，11月20日举行婚礼。

03:59 两天后的婚礼早晨，菲利普把烟戒了。

据他的贴身男仆约翰·迪恩：“突然就不吸了，一点困难也没有。

”10:35 此时的英国是克莱门特·艾德礼，于1945年取代丘吉尔（1951年丘吉尔会再上台）。

11:13 蒙巴顿伯爵是菲利普的舅舅。

丘吉尔对蒙巴顿伯爵心存猜疑是因为他是艾德礼任命的最后一任印度总督，而印度在他的任期内获得独立。

（之后几集还会提到）12:53 镜头中是玛格丽特公主看向彼得汤森上校，后者三年前进入王宫工作，此时还未与妻子离婚。

13:24 菲利普的4个姐姐都嫁给了富裕的德国王子，跟纳粹党有所牵连，姐姐塞西尔一家在空难中丧生（后面会提到），或许因为这个，此处丘吉尔说3个？

15:04 王室的贵族觉得菲利普只是穷困潦倒的外来户，把他看做“德国人”。

15:39 菲利普八岁时被送往英格兰一所寄宿学校，一年后他的母亲患上精神分裂症，被送往疗养院，出院后前往雅典建立了一个希腊正教的修女会。

18:00 1948年11月14日生下查尔斯王子，1950年8月15日生下安妮公主，期间伊丽莎白在马耳他陪伴军旅生活的菲利普，乔治六世的健康状况一直在下降。

21:16 1951年9月，手术中医生切除了乔治六世的左肺，但对外宣称正在好转。

24:59 国王不喜欢上一任首相艾德礼，但仍然要对外保持中立。

33:40 婚后二人选择住在克拉伦斯宫，但需大规模翻修，由菲利普负责（伊丽莎白在蜜月时曾写信给母亲：“自己希望丈夫在家里的事情上做主”）。

34:54 冬天圣诞期间在桑德林汉姆庄园住6个星期是王室的传统，可追溯至爱德华七世及其母亲维多利亚女王时代。

46:44 一方面乔治六世的登基纪念邮票上印有夫妇二人头像，说明恩爱；一方面又有爆料国王曾殴打过王后。

🤔【pass:因为本人是历史小白，看剧的时候迷迷糊糊，想要看到更多解释，所以看完那么久之后，兴起码了这点东西，希望能帮到和我一样的小白啦～∠( ᐛ 」∠)＿

2021年4月9日，在伊丽莎白女王最后的陪伴下，她的丈夫菲利普亲王在温莎城堡离世,这场被人们注视了近一个世纪的皇室婚礼就此落幕。

今天，让我们回到英剧《王冠》第一季第一集，回到1947年，回到菲利普亲王宣誓放弃希腊王位继承权，回到那场“门户不当”的世纪婚礼，回到伊丽莎白皇冠未佩时，也回到她的父亲，乔治六世，这位体弱、腼腆却也恪尽职守的国王，最后的日子。

1.Chance would be a fine thing <英>良机不多

这是英式英语的一种说法，表达的是“我也想这样，但恐怕没这个机会”。

这里伊丽莎白对未婚夫说今晚好好休息，但是想在婚前最后的单身派对上休息是不大可能的，能出席明天的婚礼上就不错了（不是）。

-"You should relax a bit more." 你应该多休息。

-"Chance would be a fine thing." 我倒是想。

2.Get back on one's feet 恢复活动，振作起来

乔治六世大病初愈，今天是恢复工作的第一天，他的侍从们从准备早餐开始帮助国王get back on his feet。

它可以表达久卧在床的病人终于可以下床自由活动了。

也可以引申为颓丧了一阵子的人重新pull himself together and get back on his feet.3.Count someone out 把...排除在外

Count someone out很好理解，不把某人算在里面，除了用于像丘吉尔这种被其他政党刻意“排挤”的意思，也可以简单地表示不把某人算在里面，不带有主观情绪。

-“Does anyone want to go to Tims after school?” 谁想放学后去Tims？

-“Count me out — I’ve got homework.” 别把我算进去， 我还要做作业。

4.Cut through the jargon

Jargon是术语，行话的意思，比如medical jargon医学术语。

Cut through原意是穿过，通过。

“穿过这些术语” 就是看穿看懂这些术语。

5.Bounce back 恢复， 重振旗鼓

又来了一个重整旗鼓的表达。

bounce 本身是"弹跳，回弹"的意思, bounce back则表达的是“恢复”。

它除了和get back on one's feet一样可以表示人身、心的“恢复”外，还可以广泛地表达，环境、经济等等的恢复。

China's economy starts to bounce back after the pandemic.疫情之后中国的经济开始复苏。

6.Be up to something 胜任某事

这是一个常用又好用的表达，up可以表达很多意思， 比如最常见的It's up to you这里的up就是“取决于”的意思， 但It‘s up to you to do it，这里的up就是"由..负责，由...完成"，表示“这事该由你做”。

影片中的up则表示“胜任”， 这里丘吉尔问乔治六世： “伊丽莎白能胜任吗？

”。

up 还可以表示“忙于”， I'm up to business "我忙着做生意"。

7.Break someone in 帮助某人适应（新工作、环境）

我们经常可以看见break in表达破门而入, 比如 She wouldn't open the door so the police had to break in， 或者“插话”， 比如： Sorry to break in, but your mom is calling. 除此之外Break in它还有“使适应（新的工作或环境）”的意思哦。

这里，乔治六世知道自己剩下的时间不多了，想要先通过几次外交访问来慢慢“培养”未来的女王。

8.Throw oneself into something 投身于

throw-“投”， oneself-“身” 这个表达也很形象啦， 表示充满热情地投入到某项事情中去。

He throw himself into his work once he came back from holiday.假期一结束他就投身于自己的工作9.Fire away 想问就问吧

Fire away 有“连续射击、开火”的意思，它还可以表达“开始提问吧”， 一般当谈话的某一方想让气氛变得轻松，让对方敞开心扉，就可以这么说。

There is nobody here, fire away. 这里没人， 有话就说吧。

10.Step into one's shoes 接替某人的工作

Step into one's shoes 可不是站在某人的鞋子里的意思，而是接替某人的工作的意思。

Fill in one's shoes 也有类似的意思，而且因为他不仅step into, 而且能都fill in （穿满某人的鞋），那就是指可以“很好地接替某人的岗位”

创作：晶八五审校：Juliet排版：Wind总编：大风哥Wind

版权归作者所有，任何形式转载请联系作者。

作者：蜘蛛约影（来自豆瓣）来源：https://www.douban.com/note/593642011/最近好多人跟美剧叔安利一部美剧，美剧叔看完第一集就和他们翻脸了——“能不能专业点？

”叙事像呼吸般平稳有力，史料和虚构如水乳交融，最重要的是，那股浓浓的英伦味道，装不了。

“这一看就是正宗BBC出品好吗？

”结果被打脸了。

Netflix剧集《王冠》，连乔治六世都是美国人演的。

网飞的老规矩，第一季十集，全部放出。

一口气看到第九集，不禁脱口而出一个字：爽！

好在，网飞继续土豪上身，投资1亿英镑， 后面还有5季。

据说，要换三个女演员，演出不同时代的女王。

这，才叫史诗大制作。

口碑已经爆裂，豆瓣评分9.2，高过一票美剧。

IMDb9.1分。

烂番茄的新鲜度91%。

整部剧集，就是一部讲述超长待机女王事迹的英伦王室正传。

有一定阅片量的人应该知道，这种为活人做传的剧集，简直是九死一生。

拍得太主旋律，观众受不了。

人为修改历史制造戏剧冲突，当事人受不了。

总之，几乎就是个不可能完成的任务。

但是这个不可能完成的任务，被《王冠》完美完成了。

有一种历史剧，看的是历史，虐的是人心，因为——唯真实最打动人心。

《王冠》不是纪录片，里面有大量与史诗不符的细节变化，但正是这种修改，令剧集反倒更加接近历史的真实。

“欲戴王冠，必承其重”第一季的故事，就是以伊丽莎白二世为首的英国王室的真实生活。

伊丽莎白在代替父亲去非洲考察的途中，惊闻父亲去世，连王冠都不知道怎么戴才好，就这样成为了伊丽莎白二世。

历史，比任何虚构的剧情都更加惊心动魄，还原历史，主要基于其场景的逼真，以及顶级摄影、服装、道具带来的视听盛宴。

被完美还原的历史感、精美无比的王冠、令每个人焦灼无比的历史氛围……没有一处不靠谱，为了让历史靠谱，满眼都是钱。

但是，绚丽的场景只是为剧集本身服务，《王冠》的角色塑造，也几乎是一本影视剧教科书。

尽管它的选角，处处是争议：几乎所有观众都说，这是他见过最高的丘吉尔和最丑的菲利普亲王。

丘吉尔的扮演者约翰·利特高，身高1.93米，丘吉尔的真实身高1.6米。

历史上的菲利普亲王，是有名的美男子，他的扮演者马特·史密斯，因为出演第11任《神秘博士》被人熟知，颜值还算有，但是和顶级美男子，差距有点大。

公认塑造最好的角色，一代名相丘吉尔。

第一集公主结婚时，老谋深算，最后一个到场。

伴随着音乐、掌声和女王的注视，缓缓进入教堂，尽显身份的与众不同。

第九集，全剧评分最高集，那个骄傲的丘吉尔，却在一幅画像面前终于承认了自己的衰老。

希特勒和纳粹都打不败的铁相，终于还是败给了时间，历史的沧桑感，尽在演员惊心动魄的演技里。

是的，惊心动魄！

当丘吉尔画像最终在火焰中被燃尽，连火焰也成为了表演的一部分。

同样奉献出伟大表演的，还有乔治六世。

一直到死，他都在想着怎样履行英王的职责，想着怎样让女儿顺利接过王位，同时，幸福地活下去。

他对菲利普亲王说的那句“你的工作就是给她幸福”，所有的父亲，听到都会泪奔。

国王与父亲，王权与人性，身体孱弱与灵魂坚强，几场戏而已，演得比汗牛充栋的历史文献更加清晰，也更加动人。

当然，还有第一季女王的主演克莱尔·芙伊。

长得一点不像女王，但是从无忧无虑的公主到身负重任的女王，她每一刻的表演都足够让观众相信，这就是历史中的伊丽莎白二世。

这样一群演员，就这样在历史和虚构的反复交错间，在安逸和危难的反复切换间，用强烈的真实感狠狠揪住了观众的心。

“王权必须胜利，必须永远胜利”这么厉害的剧集，编导团队怂不了。

编剧，是《女王》的编剧彼得·摩根，一部活的伊丽莎白二世及王室的字典。

第一二集由史蒂芬·戴德利执导，他的代表作你一定看过，《朗读者》、《时时刻刻》。

最打动人心的第9集，导演是《成为简·奥斯汀》的导演朱利安·杰拉德。

收官的第10集，导演是《霍金传》的导演菲利普·马丁。

这些导演风格虽然各有不同，但有一个共同的特质：故事扎实、角色丰满、影像的历史感精准到毫厘。

在统一的艺术把握下，整部剧集，如同出自一人之手。

如果是历史是任人打扮的小姑娘，那么《王冠》显然给了历史一副淑女的模样。

重要的不是场景 “真实到窒息”，而是角色、氛围和历史感“真实到窒息”。

剧集不是纪录片，因为每个人心里，都有一个伊丽莎白二世。

可是在正史和野史，事实和虚构之间，编导却最大程度地接近了那段历史。

剧集不是为英伦王室歌功颂德，而是像刻刀一样，近乎残酷地表现出历史的无情，这样才能让观众直观感受到，这些传奇人物，到底失去的是什么？

没有刻意煽情，也没有神话的高大上，每个普通人都能感受到菲利普亲王内心的不甘，伊丽莎白女王面对妹妹爱上有妇之夫时在王权和亲情间的无奈，还有，丘吉尔离开唐宁街时的落寞与无奈。

无论史诗还是传奇，能够为后人所理解的，都在人性。

英伦王室真正的高贵，不是在历史中一尘不染，而是经历过人性的深渊和王权的冲突，依然保持着王室的尊严和王权的尊严。

全剧最动人的台词，来自看着三位国王走上王位的祖母，在给还是公主的伊丽莎白的信中，她说出了这样一段话：在你悼念你父亲的同时，你也要悼念另一个人——伊丽莎白·蒙巴顿。

因为她现在已经被另一个人所代替，伊丽莎白女王。

这两个伊丽莎白会经常起冲突，事实是王权必须胜利，必须永远胜利。

当她面对新上任的女王，自己的孙女，完成对女王的跪礼，所有的观众都明白了这句台词的意义。

从历史真实中还原的人性，不回避人性与王权永恒的冲突，才让人了解了英伦王室何以在现代社会屹立不倒，这才是《王冠》最动人之处。

这部BBC范儿的美剧，豆瓣9.2都嫌低！

说它每一集都是一部《国王的演讲》，太夸张。

可是像第9集这样的品质，说它配不上奥斯卡，说不过去。

英女王的故事，还没讲完，我知道，你们最关心的故事，比如戴安娜之死，还得等等。

后面的5季，按照网飞的习惯，应该有50集——一段大英帝国的历史，60集，讲完。

咱们的武则天撕逼传奇，96集。

你想看哪一种王冠，美剧叔不知道，但是对于我来说，《王冠》这么牛的剧集，再久，也值得等。

本文作者：美剧大叔原创文章禁止转载，转载需联系微信公众号：蜘蛛网订阅号（spider201310）-THE END-

女王责备首相丘吉尔和他手下的这一段太精彩了。

高手过招，招招致命啊。

真正展现出女王的成长，以及如何与英国最精明的政客之间的斡旋。

我把这一段摘录下来了，值得反复体味。

对丘的下属：（沉默的几秒钟）（严肃生气的语气）我注意到上周有段时间我的首相丧失了工作能力，外交大臣也是。

你们互相串通，向我隐瞒这个消息。

（不让打断）我的职责不是统治，但是我的职责是确保正确的统治。

但要是我的大臣们撒谎、密谋、隐瞒真相，我怎么能做到。

（语调升高）你们阻碍我尽职，你们妨碍蒙骗了王权的正常运作。

你们怎么敢这样？

[how could you?]（开始打感情牌）我那过世的父亲非常器重你，他相信那句老话，“历史告诉我们，永远不要相信一个塞西尔”。

这句话非常不公平，（停顿）也许很公平。

（讽刺他未担负起这份信任）（不动声色）你可以走了。

对丘吉尔：（语气柔和平静）我只是个年轻女性，刚开始为公众服务。

我永远不会试图对一个比我年长那么多，又对这个做出过卓越贡献的人进行说教。

然而，你参加了我的加冕礼，那你就应该亲耳听到了我的庄严宣誓，我将根据相关的法律与习俗统治我的王国。

有一条习俗就是，他们选出的首相应当是身心健康的。

没人会认为这个规定太过分吧。

但是看起来过去几个星期，你的身心不够健康，而且你故意向我隐瞒这些情况。

这给我一种背叛的感觉，这种背叛不只在于我们自己与我们共同代表的政府之间所约定的那种信任，也在于我们个人之间的信任。

（这句太高超了，既点出政府与王室的信任关系，又动之以情，用个人关系增进情感拉进和老丘之间的距离）（女王走开，老丘偷偷抹泪）。

1867，沃特•巴杰特写过：“宪法有两个元素，效率与庄严。

”君主即是庄严，而政府即是效率，这两者只有在互相支撑、相互信任时，才能发挥作用。

（金句！

让我突然理解了英国君主立宪制存在的原因和意义）。

你这种破坏互信的行为是不负责任的，而且会对国家安定造成严重的后果。

（停顿了几秒钟）（话锋一转）-你现在身体好点了吗 -好些了 -Good.但是有足够好吗，可以正常工作吗（丘想回答，女王打断）我希望你给出的回答能考虑到对我的地位和工作的尊重，而不是考虑我的年龄或性别。

（让老丘不要急于回答，而是考虑清楚希望他这次能够诚实坦诚）

王冠第一季第九集，这一集算是整个季里面最好看的一集了，尤其是画家和丘吉尔对话这一段，简直堪称经典，尤其是说到“鱼塘”的时候突来的配乐，让我鸡皮疙瘩都起来了。

晚上睡觉的时候我就在思考1.为什么这部剧能得到这么高的评分？

仅仅是因为是皇室题材吗？

2.这部剧显然和其他剧比起来都明显枯燥一些，没有那么多的转折那么多的架设，可是为什么我能坚持看到现在？

第一点毋庸置疑是摄影：随便拿出一帧可以作为一副摄像的电影不少，可是电视剧并不多，但是随着近几年以来许多电视剧开始摄像变得极其考究，例如权利的游戏，例如唐顿庄园，可是就拿唐顿庄园来说，王冠的摄影显然高于它，有很多长镜头，很多特别的拍摄角度，例如从车后窗拍摄车后说话的人，从上空拍摄女王骑马，从教堂顶拍摄下面说话的人，王后海边骑马那段可以堪称大片**，还有游行时女王微笑菲利普眼神配上漫天彩花的慢镜头，等等等等，虽然女王很多时候你觉得她的打扮就是普通人，还不如现在的明星打扮，可是那种精致无法比拟，很多时候我都在批判暗影掉，可是兴许正是这样的暗影掉凸现出来一种特别的沉重和细腻。

第二点在于演员的演技：女王，菲利普，丘吉尔，女王妹妹，丘吉尔夫人还有画家（完全没看出来是史丹尼斯），很多近距离的镜头特写，眼神，甚至每个皱纹都凸显出演技的用心和高超，让你觉得这是值得细细品味的；第三点在于台词：看这样的英剧的台词和口音无疑是一种享受，高贵而精致，女王的许多台词应该经过精心设计，让你忍不住退回去再看一遍；第四点当然在于还原：光是雾霾那一集，接电话的场景，加冕礼以及多次透过黑白电视表现历史感让你觉得这ttm用心了；第五点是我最想记录的一点关于自己的思考，就是本剧的编剧。

第九集中文译名我觉得很好：时间刺客，穿插了丘吉尔被政党排挤退位和一个曾经叱咤政坛呼风唤雨的老人最后要拜倒在时间的“刺杀”之下，一方面是时间让他老去，另一方面是他已经感到这不再是属于他的时代；我想我终于找到这部剧得以拍出来的部分原因，在于编剧的用心良苦，他的确涉及了很多时代背景，人物，以及大家都想看到的帝国皇室的衰弱，甚至是女王婚姻的背后，但是编剧把一切的力度把握的都刚刚好，没有去涉及很多的政治细节，整部剧就像女王一般超然于政治之上，就算是写丘吉尔，都是借用的他与画家的真实事件，一丝一缕，不讲政治，从他的另一面入手，塑造的如此鲜活真实，不能说这是一种欺骗，因为没有展现出一个完整的丘吉尔就是欺骗，这是一种高深的境界。

丘吉尔与画家之间的“英雄相惜”（他从一开始的反感到最后自己不小心表达出的friendship）这一段太精彩了，而最后他退位了却还是把画像烧了更是留下了足够的遐想，以及对人物性格和内心的探索，太好；另一主线则穿插女王和菲利普的婚姻危机，很隐晦，完全没有菲利普风花雪夜的场景，只有女王在窗前等待他归来，雨点打在窗户上的镜头，以及冷漠，争吵，完全是平常夫妻会有的状态，影片让女王的婚姻接了地气，却保留足了面子，最后女王穿上礼服在床前说的那段话又是高潮，can you，离去和菲利普站起的镜头可谓意犹未尽，多少婚姻埋葬在这样的无可奈何之中，编剧真的很厉害。

此外许多细节让人感叹，女王在见养马的那个人的时候对折镜子整理自己头发，丘吉尔老婆在宴会上那个可爱的眨眼，这些戏码真是太足了。

好片终究是好片。