Authority is a strangely labile kind of privilege. My personal physician was once my student. He once sat respectfully in my class; now I listen dutifully to his advice. In the college where I work, we have a crime school where state and community policemen sit in classrooms and play the role of students for a day, learning, for example, how to conduct breathalyzer tests. If one of these "students" pulls me over for a traffic stop later in the day, I'm just the "violator" and he's the firm arm of the law. The Madness of King George (1994) features what has to be one of the strangest examples ever conceived of the uncertain nature of authority: an absolute monarch diminished to the status of mental patient. The comedown of it all is rendered all the more poignant because the mode of treatment for the king is what might be termed a "tough love" style of psychotherapy. This film milks the dramatic irony of that change in a man's stature for all its worth.

Historical Background: King George III was born in London in1738 and succeeded his grandfather, King George II, upon the death of the latter in 1760. George II was a tough act to follow. He was the last British monarch to actually lead troops into battle and his triumphs in the Seven Years War (1756-1753) brought new prestige to Britain and laid the foundation for empire in India and Canada. George II also put down the last attempt of the Stuarts to regain the British throne and led Britain into an era of unprecedented economic prosperity. By contrast, George III had to deal with both the American and French Revolutions, each of which had traumatic effects on Britain. The Industrial Revolution during George III's reign brought about a doubling of the population in Great Britain. George III took more interest in the politics of the country than had his grandfather. He attempted to break the power of the Whig aristocrats by choosing Tory ministers, such as Lord North and William Pitt the Younger. As this film depicts, George III also had to cope with periodic mental derangements attributable to porphyria, a disorder of heme synthesis that impairs brain function. The disease finally had its way with the man beginning in 1811. George III's eldest son was appointed regent from 1811 until his father's death in 1820, and later succeeded his father to the throne as George IV. George IV took no interest in matters of state and lived a disgraceful life of dissipation, but had a taste for things of beauty that led to the construction of many beautiful buildings and the beginning of the collection that would ultimately become the British National Gallery. Many important reforms occurred during George IV's reign, partly because of his disinterest in such matters. Sometimes the best thing that royalty can do is to keep out of the way!

The Story: The story opens in 1788, five years after the American colonies achieved their independence and King George III of Great Britain is still smarting over the loss. King George is in denial but, worse, also suffers from severe abdominal pains and intermittently deteriorating mental status. The distinctly blue coloration of his urine is indicative of what we now call porphyria, but there was no knowledge or understanding of the disorder in 1788. The doctors who attend the King are really quite ignorant. One declares that the cure lies in blistering the skin. Another concentrates on examining the King's stools. A third repeatedly takes his pulse. One argues that examining the stools is more "eloquent" than pulse-taking. Another observes, "One may produce a copious, regular evacuation every day of the week and still be a stranger to reason." Meanwhile, the King's behavior becomes increasingly irrational. He yells obscenities, rambles incessantly, and loses his temper. One morning he rouses the attendants at 4 A.M. for a run in the countryside in their nightgowns. He tries to have his way with the royal mistress, Lady Pembroke (Amanda Donohoe), in the midst of a group of stunned on-lookers. Throughout the ordeal, Queen Charlotte (Helen Mirren) stands by her erratic husband. "Are you mad," she asks him in a penetrating moment. "I'm not sure," he replies, "I see the image of words and I have to speak them."

King George's indisposition precipitates a political crisis. The Tories, led by William Pitt (Julian Wadham), maintain a tenuous hold on the reins of government solely by the preference of the King. The Whigs, led by Charles Fox (Jim Carter), smell blood. They want the King declared insane and the Prince of Wales (Rupert Everett), young George, made regent. The smarmy and indolent Prince is chafing at the bit, having tired of doing nothing. "To be Prince of Wales," he declares, "is not a position – it's a predicament!" Besides, he wants access to the royal treasures. Young Freddie, the Duke of York (Julian Rhind-Tutt), hangs sheepishly by his brother's side. In an age-old political game, Pitt tries to put the best spin on the King's status while Fox demands that parliament move forward with the necessary legislation to declare the Prince regent. The various King's retainers are pressured into acting on the behalf of one side or the other.

When the King's situation seems unsalvageable, Queen Charlotte, Lady Pembroke, and one of the King's aides, Greville (Rupert Graves), conspire to bring in an outside physician, Doctor Willis (Ian Holm), who has a reputation for effecting cures of the mentally deranged. Willis's unorthodox approach involves strict discipline aimed at breaking down a royal personality spoiled by too much deference and groveling condescension. Willis takes the King down to his farm (the funny farm?) and straps his royal liege into a hard iron chair, gags him, and ignores his protests. In a world in which nobody is allowed even to look upon the King, he stares his majesty hard in the eyes and declares, "I have you in my eye." George protests, "I am the king!" Willis replies, "No, sir! You are the patient!" Willis treats the man like a willful child, punishing him whenever he begins to ramble or verbalizes his delusions. The privileged all-powerful ruler of a great nation has been reduced to the lowly status of a mental patient.

Amazingly, whether in response to the treatment or by the accident of temporary remission of his porphyria, King George pulls himself together. "I have remembered how to seem myself," he declares. George makes a dramatic appearance before parliament to demonstrate his renewed sanity, just in time to squash the political upheaval. A chastened Prince of Wales would have to wait another 23 years to be declared regent. As the royal family makes a public appearance, King George advises his errant eldest son, "Smile and wave! It's what you're paid for!"

Production Values: The screenplay for this film was written by Alan Bennett, based on his own play The Madness of George III. The Roman numeral was dropped from the title of the film because it was feared that a not-too-bright American film audience would assume that the film was a sequel and would wonder what had happened in parts I and II. Bennett trimmed a lot of dialog and some subplots from the stage version to create a quicker paced storyline more suitable for cinema. He found an effective balance between dramatic elements and comedy. The characters are well drawn and the story largely based on historical circumstances, with due literary license. There're plenty of comic bits of dialog. The real genius in the script, however, lies in its ability to make a madman a sympathetic character for whom viewers can root. Though he's crazy, and rather pompous even when he's sane, he's a good deal more appealing than his slimy, foppish son.

Nicholas Hytner had previously directed the play on stage and made his film debut with the movie version. Hytner had already earned a Tony-award as a stage director. The period costumes are magnificent and the film was made entirely on location. The art-direction was nominated for an Oscar. It's lovely to look at, despite a meager $8 million budget. There's nothing "stuffy" about this British period piece. It bubbles and percolates with frivolous abandon. The soundtrack is comprised of non-original classical music, such as Handel's Water Music, carefully selected by George Fenton, but all of it is period appropriate and so skillfully integrated with the action that it may as well have been composed expressly for the film.

This film's concept is quite original, in a way that could easily have resulted in a disastrous flop, were it not for the performance by Nigel Hawthorne as the mad king. Hawthorne had perfected the role after several years of performing it on stage. It's difficult to imagine this film working with any other actor in the role. Hawthorne's other work has included The Black Cauldron (1985), Turtle Diary (1985), Richard III (1995), Amistad (1997), The Object of My Affection (1998), Madeline (1998), and Tarzan (1999). In The Madness of King George, Hawthorne delves deeply into the dark recesses of insanity. He's a consummate professional who finds both nuance and passion in his work. It's an Oscar-nominated performance you just don't want to miss.

There are also some fine supporting performances from Helen Mirren, Rupert Everett, and, especially, Ian Holm. The lesser parts are well manned as well. Helen Mirren has an impressive resume that includes O Lucky Man! (1973), The Long Good Friday (1980), Excalibur (1981), The Mosquito Coast (1986), The Comfort of Strangers (1991), The Prince of Egypt (1998), The Pledge (2001), Gosford Park (2001), and Last Orders (2001). Rupert Everett's other work includes Dance with a Stanger (1985), My Best Friend's Wedding (1997), and An Ideal Husband (1999). Ian Holm has impressed elsewhere in Oh! What a Lovely War (1969), Juggernaut (1974), Alien (1979), Time Bandits (1981), Chariots of Fire (1981), Brazil (1985), Wetherby (1985), The Fifth Element (1997), The Sweet Hereafter (1997), and Lord of the Rings: The Fellowship of the Ring (2001), in which he played Bilbo Baggins.

Bottom-Line: The MGM DVD is short on extras, though it does furnish a lavish transfer in widescreen format. There are optional subtitles in French and Spanish but none in English, for the hearing-impaired. The only extra is the original theatrical trailer. If you like English period films, here's one with an original premise and a nice balance between comedy and drama. Enjoy!

Recommended:
Yes

Viewing Format: DVD
Video Occasion: Good for a Rainy Day
Suitability For Children: Suitable for Children Age 13 and Older