Presented at the Rome Film Fest, The Lost King is the true story of a woman fighting the establishment for a restless and ironic censor of established power Stephen Frears. Mauro Donzelli’s review.
Some films of Stephen Frears I’m like him: ironic and smiling, careful to kick the power in the teeth. An adorable vice that comes from his commitment to free British cinema a few decades ago, which he stubbornly maintains, while standardization prevails around him. As in Philomena, tells of an ordinary woman, even a marginal one, struggling with the obstinacy to obtain the re-establishment of a truth, for which she commits herself by putting every fiber of herself into play. In the case of the 2013 film, which was nominated for four Oscars, Judi Dench she wanted justice for herself, and to find her child extorted from the Catholic Church and placed in foster care elsewhere. In the case of The Lost Kinga woman takes it out on none other than the bard himself, William Shakespeareguilty of portrayed as a perfidious murderer and given the usurper to Richard III, contributing to the disavowal of history as the legitimate king of England.
In common the the desire to bring out the role of women through small exemplary stories, as is well known, humiliated with constancy by history, but above all by men. But another crucial aspect ties the two films: the screenwriters, Jeff Pope And Steve Coogan. With the latter confirming his grace as a champion of acting in the role of the ex-husband (although very present) of the protagonist, played instead by Sally Hawkins. He is a normal person in this story, moreover with some health problems and the difficulty in his work to see his value and application confirmed in the hierarchy.
An evening at the theater with her son, to see Shakespeare’s Richard III, brings her closer to the universe of the misunderstood king. To the point of studying everything available about him, becoming a backbone of the association that feeds his memory, e convince himself that the remains of the English ruler who remained hidden for 500 years are actually under a parking lot in Leicester. She is so passionate about hunting him that she begins to see him, King Richard III, establishing a dialogue with him with a wise ghost adviser.
An incredible true story – visions excluded -, that of Philippa Langley, obstinate in thinking with her own head, without aligning herself with the patterns strongly suggested by everyone, for the affirmation of herself and of a truth that becomes increasingly crucial for her. He wasn’t the wicked killer psychopath that has been passed down to us, the poor last York king. It was the victory of the rival house that even erased him from the chronology of the rulers. In the end, however, what interests Frears, and with him Coogan and Pope, is clearly to annoy those who have a uniform, a power or the arrogance of the alleged impunity. Justice for the excluded, for women treated with irritating paternalismas happens to Philippa by the leaders of the local university, who first hinder her and consider her half crazy, then obviously ride the incredible discovery.
But she has faith in righteousness, in children who want to know how she found a missing king. The king who will also have had a deformation in his back, but has also, coincidentally, given to history a conquest of civilization such as the presumption of innocence until proven otherwise.