The plot of “The Duchess” is nothing new. The twists and turns of European high society were already extensively covered in Sofia Coppola’s “Marie Antoinette,” albeit with much more whimsy. In fact, dozens of films have dealt with the exact same subject matter.
Still, there is something not to be ignored in “The Duchess,” the new picture from Paramount Vantage, Pathe Films, and BBC Films starring Keira Knightley (“Atonement,” “Pride and Prejudice”) in the title role and directed by relative newcomer Saul Dibb.
The film, which chronicles the life of 18th century aristocrat Georgiana, the Duchess of Devonshire, is a beautifully orchestrated period film that hits all the right notes at all the right moments. Though it’s predictable, it’s still thoroughly enjoyable thanks to its powerful cast and gorgeous sets and costumes.
It’s easy to notice Keira Knightley gravitates towards period pieces or anything in which she can wear a corset and have big hair. I had intended to call her out on that lack of versatility in this review, but after seeing “The Duchess,” I simply cannot. The fact of the matter is Knightley is always divine in period films, even if she’s playing the same character. If she plays it well, why shouldn’t she stick to what she’s good at?
Indeed, Knightley will surprise no one with her performance as Georgiana, a woman in a passionless marriage with a duke (Ralph Fiennes, “In Bruges,” “Harry Potter and the Order of the Phoenix”) whose only desire for his wife comes from his intense longing for a male heir. (Like I said, there’s nothing new here in terms of story.) But Knightley portrays the strong-willed Georgiana with conviction, as she does with all of her girl-powered heroines, such as Elizabeth Swann in the “Pirates of the Caribbean” series or Elizabeth Bennett in 2005’s “Pride and Prejudice.”
The real standout performance in “The Duchess” is Ralph Fiennes’ paunchy Duke of Devonshire. Fiennes once again proves himself a master at playing the villain, although his performance here is much more subtle than his infamous role as Lord Voldemort in the “Harry Potter” films. Here, each facial expression from Fiennes conveys more than his dialogue ever could. Though his every motion is small and calculated, Fiennes’ presence on screen is enormous.
Dominic Cooper (“Mamma Mia!”) plays Knightley’s other love interest in the film, the future Prime Minister Charles Grey. Cooper’s performance fits well within the confines of the movie. He’s not the most interesting choice for a torrid love affair, but Cooper and Knightley have enough chemistry to pull it off.
Hayley Atwell (“Brideshead Revisited”) also stars in the film as Georgiana’s close friend and confidante, Bess Foster. Atwell should be appreciated as a constant kind face in this frequently depressing film. Her somewhat mousy character creates a lovely contrast to the vivacious Georgiana. Knightley and Atwell portray their conflicted friendship with ease. In fact, Knightley has better chemistry with Atwell than with Fiennes or Cooper.
However, the movie wasn’t entirely without fault. Though the costumes and set pieces were beautiful, I felt “The Duchess” paid too much attention to fashion. It is often mentioned in the film as the only way for women to express themselves. While that may have been true within the time period of the movie, it felt like a condescending way to point out how great the costumes looked.
Georgiana’s character is often described by others in the film as fashion-forward, making her seem like the Carrie Bradshaw of the 18th century. (Georgiana has feathers and corsets while “Sex and the City’s” Carrie has Manolo Blahnik shoes.) The characterization of Georgiana as a “fashionista” felt out of place, as though it was a cheap ploy to get modern female audiences to identify with the character.
Though the focus on fashion was distracting and patronizing at times, “The Duchess” manages to use its depiction of 18th century English society to convey themes of freedom, both in government and in the home. It’s not an issue that has been untouched in cinema, but the film adeptly discusses the themes without being heavy-handed or cheesy.
Overall, “The Duchess” will stand as one of the first films of the season that is undoubtedly Oscar-worthy. Knightley does what she does best, the sets and costumes are exquisite, and the film is a treat, even if it’s a decidedly familiar one.
“The Duchess” opens in Dallas on Sept. 26 and opens everywhere Oct. 3.
