Xuenou > Featured > Elizabeth: The Unseen Queen, review: will make you feel closer to the Queen than ever before
Elizabeth: The Unseen Queen, review: will make you feel closer to the Queen than ever before
Footage dating back as far as the 1920s, with a voiceover by the Queen herself, gave us a truly intimate insight into the Royal family

Elizabeth: The Unseen Queen, review: will make you feel closer to the Queen than ever before

“No one can make history stand still,” said Her Majesty, the Queen in 1958. Well, for 75 minutes, Elizabeth: The Unseen Queen (BBC One) almost did. Using 400 reels from the Queen’s own home video archive – much of which has never before been seen by the public – editor Mark Hammill and director Simon Finch have created a quite stunning, truly moving collage of the first three decades of the life of Elizabeth II. This is not the chronicle of a queen, but the story of a family.

If the footage is remarkable, it is matched by a voiceover delivered by the Queen herself. This is a patchwork too, taken from 60 of the Queen’s speeches (the history standing still line was spoken during a state visit by the president of West Germany, Theodor Heuss), but bookended by some new thoughts from the Queen, recorded this month at Windsor Castle. There is little the Queen has done in recent years to bring her so close to the people of the United Kingdom. It’s as if she was taking us – me, you – through her holiday snaps and treasured old videos. Which, of course, she was.

It is the early years that amaze. Before adulthood, before her father became ill, before the weight of the crown on her head. Claire Foy’s interpretation of the Queen in the Netflix drama series The Crown presumed that the serious, sober-minded devotion to duty came prebaked, that it was part of her DNA. Perhaps. But in these reels we see a carefree, mischievous little girl, delighting in the attentions of the camera and of her beloved father.

In the early 1930s, we see Princesses Elizabeth and Margaret tottering around the garden, playing with daddy (George VI, then the Duke of York), being wheeled giddily around the lawn on a wicker sun lounger (delightfully, almost two decades later, we see King George treating two-year-old Prince Charles to the same little thrill). In the late 1930s, we’re in Balmoral, sketching in the heather and paddling in the lake, while Queen Elizabeth, the Queen Mother makes regular humorous cameos (who knew the Royal family were so goofy?). In one entrancing short scene, Elizabeth and Margaret, giggling and dressed in matching blue dresses with white polka dots, perform a choreographed dance to the camera, while corgis scuttle about their feet. You’d have to be a hardened republican not to feel enormous warmth towards them in this moment.

Princess Elizabeth and Princess Margaret at Royal Lodge in Windsor in 1940Credit: BBC

There is an elegiac quality to proceedings, best embodied by the palpable devotion between father and daughter, as she grows older and more confident, and he more frail. The Royal family have a reputation for coldness, but these home videos are bathed in uncomplicated love. In one of the film’s coups de grace, we see footage of rhinos and elephants filmed by Princess Elizabeth at Treetops Hotel in Kenya in February 1952. As she watched the animals, the King was living out his final day. Long live the Queen.

It is Her Majesty’s own words that sum up a huge amount of the film’s appeal: “I think there’s a difference to watching a home movie when you know who it is on the other side of the lens, holding the camera. It adds to the sense of intimacy.” Sometimes the sense of intimacy is dizzying. We watch familiar footage of Princess Elizabeth and Prince Philip standing on the Buckingham Palace balcony on their wedding day, waving to the crowds. Then, as if it is a trick, we cut to a grainy shot taken indoors, looking at a doorway and the backs of a group of people. It takes you a moment to realise you are still watching the same scene, but from behind.

If there is a complaint, it is that the film is a little skittish, rattling along to the next scene, to the next reel, before you’re ready to move on. That is likely the nature of the reels the film-makers were using, but it feels a shame that, for certain moments, we aren’t granted the time to drink in what we are seeing.

We have great noisy swathes of pomp and pageantry to celebrate the Platinum Jubilee ahead of us, but nothing is likely to come close to the intimacy and warmth engendered here. History, standing still, just for a moment.