The story begins in 1864, three years after Queen Victoria (Dench) has lost her beloved husband and mentor, Albert, and plunged into a deep and dizzying depression, which results in a complete disappearance from public view. Despite unceasing efforts by some of her children, her loyal staff and her worshipful public, no one seems to be able to lift the spirits of the disconsolate queen, who’s soon labeled “The Widow of Windsor.”
Into this gloomy milieu enters Scottish servant Brown (Connolly), the Royal Family’s loyal hunting guide and horse caretaker, who devotes his life to one goal: cheering his queen and protecting her, both physically and emotionally, from any potential harm. Down-to-earth and with no regard for protocol, Brown causes immediate upheaval in the court.
Charmingly nonchalant and single-mindedly committed to his task, Brown is the only person who doesn’t treat the queen with kid gloves. Indeed, Brown’s insolence seems to be working a magical spell on the queen, who, for the first time in years, begins to react emotionally. Spurred by Brown’s insistence, she begins to smile and resumes her rides, and spends long days walking with Brown and confiding in him.
Despite the impossible barriers of class, politics and rigid norms, Victoria and Brown are attracted to each other as individuals needing intimacy, affection and loyalty. But as soon as the queen recommences the pleasures of “being alive” (as someone says), rumors of an affair begin to scandalize British society and a crisis in the monarchy seems inevitable.
Brown is contrasted with Prime Minister Disraeli (Anthony Sher), a shrewd, charismatic politician who understands that it’s the servant who holds the key to the queen’s return to public life, an act that will once and for all terminate all rumors of an unseemly affair. For this very reason, Brown is also resented by Sir Henry Ponsonby (Geoffrey Palmer), the queen’s private secretary, and her children, particularly Bertie (David Westhead), Prince of Wales.
Director John Madden handles his chores far more impressively than he did in his last assignments (“Ethan Frome,” “Golden Gate”), employing an unobtrusive style that serves the drama effectively and allows his gifted thesps to develop highly modulated characterizations.
Mostly working onstage and occasionally appearing in movies (recently as M in “Goldeneye”), Dench brings her commanding stature and superb elocution to the multi-nuanced role of a strong but vulnerable woman. As written and performed, Dench’s Victoria deviates from previous stage and screen portrayals that have shown the queen to be arrogant, rigid and unfeeling.
As a character, Brown lacks the overtly heroic dimensions of Rob Roy or the William Wallace of “Braveheart,” two mythic Scottish figures celebrated in recent American movies, but Connolly (better known as a comedian) acquits himself marvelously, stressing the irreverent willfulness of a servant who sacrificed his entire life in Her Majesty’s service, a man who faced a major personal dilemma when pressured to give Victoria back to the nation at the cost of his own heart.
Though there are a number of outdoor scenes and production values are handsome, ultimately it’s the narrow focus and chamber nature of the material that lends the movie its resonance and emotional power.