You will be redirected back to your article in seconds

Film Review: ‘Victoria & Abdul’

Judi Dench plays Queen Victoria (again), bonding with an Indian clerk in a drama that seems uncomfortably cozy with empire.

Stephen Frears
Judi Dench, Ali Fazal, Michael Gambon, Olivia Williams, Eddie Izzard, Simon Callow, Tim Pigott-Smith, Adeel Akhtar, Fenella Woolgar, Julian Wadham, Deano Bugatti.
Release Date:
Sep 22, 2017

Official Site: http://www.imdb.com/title/tt5816682/

In “Victoria & Abdul,” a gilded let’s-tweak-the-Empire-but-not-really talkfest duet directed by Stephen Frears, our first encounter with Queen Victoria (Judi Dench) comes during a lavish lunch for her majesty’s golden jubilee. It’s 1887, and the 68-year-old monarch has been placed at the head of a dining table as long as a cricket field. She’s so bored and depressed that she can barely stay awake, so she eats herself into a food coma and looks ready to be wheeled out — that is, until Abdul Karim (Ali Fazal), a 24-year-old Indian clerk who’s been chosen to present her with a mohur (a gold coin minted by British India), approaches her royal highness. Their eyes meet, agleam with a delight that’s nearly flirtatious, as if Tinkerbell had just sprinkled fairy dust on both of them.

And so begins a love affair: not a literal one, but a mother-son, master-servant, disciple-guru bond that will stay in place, and grow, for the next 14 years, right up until Victoria’s death, in 1901. There really was an Abdul Karim, and though “Victoria & Abdul” has a cheeky introductory title that says “Based on true events…mostly,” the movie, written by Lee Hall (who drew upon the 2010 book by the Indian journalist Shrabani Basu), sticks close to the particulars of how he came to be a special companion of Victoria’s. She referred to him as “the Munshi,” a word that to Victoria, in the movie, means spiritual teacher. But he’s really her elixir. His very presence makes her feel good.

If Queen Victoria, from minute one, seems not only familiar to us but, indeed, like an old friend, that may be because Dench, 20 years ago, in her first lead movie role, played her in “Mrs. Brown” (1997), another drama about the queen’s “inappropriate” relationship with the most unlikely of underlings. Then too, in the couple of decades since, Dench has played nearly every role as if it were a species of misbehaving royalty: the cutting wit and puckish superiority, the way she has of laughing — or crying — invisibly beneath that dour scolding visage. Dench is 82 now, but she remains the world’s most formidable pixie, and in “Victoria & Abdul” she’s in her element and in her snappish, showbiz-melancholy prime. The film surrounds Dench with a coterie of stuffy arrogant British fools for her to not suffer gladly, each one adding to her (and the audience’s) satisfaction.

And then there’s Abdul. He is tall, twinkly, and yummy handsome, with thick shiny black hair and a beard that makes him look like Paul McCartney in “Let It Be.” The Indian actor Ali Fazal, a Bollywood star who made his Hollywood debut in “Furious 7” (2015), plays him with a sing-song voice and a polite sweetness that never lets up. When Abdul first sees Victoria after that lunch, it’s at another public event, and, rather startlingly, he gets down on the ground to kiss the queen’s foot. (She doesn’t ask him to; he just does it.) Later on, he talks to her, in starry-eyed tones of gentle rapture, about the Taj Mahal and the wonders of Indian cuisine (especially the glories of mango chutney), and he agrees to teach her Urdu, which he calls the most “noble” of Indian languages. When he reveals that he’s married, he tells Victoria that she means more to him than his wife does.

Victoria, too, looks up to Abdul, at times the way the Beatles did (however briefly) to the Maharishi: as an exotic force of enlightenment. Yet the word munshi was used, at the time, to mean clerk or secretary, and the central relationship in “Victoria & Abdul” never pretends to be one of equals. Abdul, as a man, remains dutiful, devoted, saintly, obsequious, servile. Maybe that’s accurate, maybe not, but in a mainstream middlebrow drama coming out in 2017, it gives one a bit of pause, because it reinforces a point-of-view toward the British colonization of India that comes off as myopic and, frankly, a little too old-fashioned for comfort.

“Victoria & Abdul” is a pleasant enough entertainment, and it will bring the inevitable awards chatter Dench’s way (is her acting ever less than pinpoint? Never). But as prestige period pieces go, it’s far from top-drawer (more like second drawer, or even third), because its cozy lack of enlightenment is echoed in the standard but far from scintillating play of its drama. What we once liked to call “Masterpiece Theatre” movies — an archaic term even before “Downton Abbey” came along — were built upon a certain vital and up-front nostalgia for the age of manners, civilized romance, and courtly Britishness. But “Victoria & Abdul” is a movie that appears to be specifically nostalgic for the relationship between England and India under the British empire.

Thirty-five years ago, in a movie like “Heat & Dust” (1983), the Merchant Ivory team explored the symbiosis of India and England in a way that was far more complex and morally shaded. “Victoria & Abdul” does voice some anti-colonial sentiment, but it’s all placed in the mouth of Abdul’s angry comrade, Mohammed (Adeel Ahktar), who calls the British “barbarians” because of all the animal parts they consume. His ire is treated as a semi-joke, but the real issue is why Abdul, in all his radiant intelligence, is portrayed as a man who never once longed for his country to be free of the yoke of British occupation. I’m not arguing for an anachronistic reading of history, but when Victoria refers to herself as the Empress of India, and Abdul just smiles on, the movie comes close to portraying it as if that were the natural order of things.

Of course, this being an American-British Oscar-bait production, there are all these marquee British actors playing stuffed shirts: Michael Gambon as the Prime Minister, Olivia Williams as Baroness Churchill, Eddie Izzard as Victoria’s son, the Prince of Wales. They turn up their noses at Victoria’s guru-servant and speak of how the Indians are of a “lower” order, and the audience gets to silently tut-tut them, which makes it seem as if the movie has its heart in the right place. But the film’s true strategy is to “dignify” India by holding up a superstar saint like Abdul as its flawless representative. That’s not enlightened — it’s “Guess Who’s Coming to Dinner” served with mango chutney.

Film Review: 'Victoria & Abdul'

Reviewed at Venice Film Festival (out of competition fiction), September 3, 2017. Running time: 110 MIN.

Production: A Focus Features release of a BBC Films, Working Title Films, Cross Street Films production. Producers: Tim Bevan, Eric Fellner, Beeban Kidron, Tracey Seaward.

Crew: Director: Stephen Frears. Screenplay: Lee Hall, Shrabani Basu. Camera (color, widescreen): Danny Cohen. Editor: Melanie Oliver.

With: Judi Dench, Ali Fazal, Michael Gambon, Olivia Williams, Eddie Izzard, Simon Callow, Tim Pigott-Smith, Adeel Akhtar, Fenella Woolgar, Julian Wadham, Deano Bugatti.

More Film

  • FX's 'Snowfall' Panel TCA Winter Press

    John Singleton Hospitalized After Suffering Stroke

    UPDATED with statements from John Singleton’s family and FX Networks John Singleton, the Oscar nominated director and writer of “Boyz N’ the Hood,” has suffered a stroke. Sources confirm to Variety that Singleton checked himself into the hospital earlier this week after experiencing pain in his leg. The stroke has been characterized by doctors as [...]

  • 'Curse of La Llorona' Leads Slow

    'Curse of La Llorona' Leads Slow Easter Weekend at the Box Office

    New Line’s horror pic “The Curse of La Llorona” will summon a solid $25 million debut at the domestic box office, leading a quiet Easter weekend before Marvel’s “Avengers: Endgame” hits theaters on April 26. The James Wan-produced “La Llorona,” playing in 3,372 theaters, was a hit with hispanic audiences, who accounted for nearly 50% [...]

  • Jim Jarmusch in 'Carmine Street Guitars'

    Film Review: 'Carmine Street Guitars'

    “Carmine Street Guitars” is a one-of-a-kind documentary that exudes a gentle, homespun magic. It’s a no-fuss, 80-minute-long portrait of Rick Kelly, who builds and sells custom guitars out of a modest storefront on Carmine Street in New York’s Greenwich Village, and the film touches on obsessions that have been popping up, like fragrant weeds, in [...]

  • Missing Link Laika Studios

    ‘Missing Link’ Again Tops Studios’ TV Ad Spending

    In this week’s edition of the Variety Movie Commercial Tracker, powered by the TV ad measurement and attribution company iSpot.tv, Annapurna Pictures claims the top spot in spending for the second week in a row with “Missing Link.” Ads placed for the animated film had an estimated media value of $5.91 million through Sunday for [...]

  • Little Woods

    Film Review: 'Little Woods'

    So much of the recent political debate has focused on the United States’ southern border, and on the threat of illegal drugs and criminals filtering up through Mexico. But what of the north, where Americans traffic opiates and prescription pills from Canada across a border that runs nearly three times as long? “Little Woods” opens [...]

  • Beyonce's Netflix Deal Worth a Whopping

    Beyonce's Netflix Deal Worth a Whopping $60 Million (EXCLUSIVE)

    Netflix has become a destination for television visionaries like Shonda Rhimes and Ryan Murphy, with deals worth $100 million and $250 million, respectively, and top comedians like Chris Rock and Dave Chappelle ($40 million and $60 million, respectively). The streaming giant, which just announced it’s added nearly 10 million subscribers in Q1, is honing in [...]

More From Our Brands

Access exclusive content