Respond to these rapid questions in our Victoria And Abdul quiz and we will tell you which Victoria And Abdul character you are. Play it now.
“Railings should be built around her so that everyone can admire her in an orderly and respectful manner,” British wit Stephen Fry once said of Judi Dench.
There is no need to confine this magnificent dame. According to Dench’s mostly silent but resoundingly brilliant early moments in “Victoria & Abdul,” it’s far better to simply let her loose across a worthy cinematic expanse. With her return to the role of Queen Victoria, two decades after first portraying the indomitable monarch in “Mrs. Brown,” this sturdy regal period piece provides an ideal opportunity to properly adore the 82-year-old legend.
In 1887, the Queen of England celebrated her Golden Jubilee, marking 50 years of rule over the British Empire, which was broadcast around the world. Her Majesty, a pudgy figure dressed in a heavy black gown that droops like a curtain over her ample backside, slowly waddles her way to the head of a table in a cavernous dining hall after all of the royal guests have been seated. Her joyless face is as shriveled and sour as an ancient grapefruit as she goes about the ritual as quickly as she can without saying anything. After receiving the first course of soup in such a hurried manner that liquid spills down her chin, she proceeds to devour the remainder of the meal. Later on, she gnaws her way through a poultry course like a ravenous lawn mower before sneaking in a cat nap just in time for dessert. Meanwhile, protocol dictates that once she has finished with a dish, the rest of the table must stop eating as well.
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After receiving a ceremonial coin from two of Victoria’s Indian subjects, who have been uprooted from their colonized homelands to celebrate the occasion, Victoria’s frown is soon turned upside down. Both have been warned not to look directly at the queen, and Mohammed (Adeel Akhtar, who emits an amusing Paul Giamatti level of dissatisfaction), the older and more squatter of the two, abides by the rules of the game. Abdul (Ali Fazal), who is tall, youthful, and quite attractive, and who has a merry twinkle in his eye, can’t help but look at and smile at this lonely old woman, despite his better judgment. Suddenly, he kneels down and kisses her foot on the bottom of her foot. A bolt of mutual affection is fired between the queen and the stranger who is about to become her closest companion during the waning years of her reign, and it happens in an instant. That’s when director Stephen Frears, who previously worked with Dench on “Philomena,” finally flashes—ta da—”Victoria & Abdul” onto the screen for the first time.
Victoria And Abdul Quiz
The film “Mrs. Brown,” which earned Dench her first of seven (to date) Academy Award nominations, is about Queen Victoria’s relationship with another commoner, Scottish nobleman John Brown (played with robust cheekiness by Billy Connolly), following the death of her beloved consort Prince Albert. Their connection was more of a meeting of minds than anything else, as her horse-riding partner would challenge her in ways that others would not dare to do.
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She is treated as an impediment by the majority of her advisers, particularly her eldest son Bertie (a frazzled Eddie Izzard who exudes exasperation throughout the film), who is eager to take over as king. Victoria and Abdul, who has an elegiac way of speaking and viewing the world, are bonded by the fact that he approaches her as a human being with feelings rather than as an intimidating institution, and this is what brings them closer together. He also serves as a conduit to India, a part of her kingdom that she is not permitted to visit due to a fatwa that has been placed on her head by the Islamic authorities. He inspires her to create an elaborate Indian-themed Durbar meeting room in her seaside house on the Isle of Wight, complete with ornate white ceilings, imported rugs, and a peacock throne, all inspired by the Taj Mahal in his hometown of Agra.
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The script, written by Lee Hall (“Billy Elliot”) and “based on real events—for the most part,” as we are informed, cleverly allows moviegoers to discover alongside Victoria just who this mysterious charmer really is. Abdul appears to be straightforward, but he will eventually be revealed to be prone to omitting inconvenient truths about his past when the situation calls for it. Initially, he is promoted to a position similar to that of an executive assistant. In the course of his daily assistance to the queen, the queen comes to realize that this former prison clerk is a Muslim and requests that he educate her in both his native language of Urdu and the Islamic scriptures of the Koran. When Victoria discovers that the word for teacher is “munshi,” she declares that Abdul’s official position will now be that of a “munshi.”
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Increasingly attached to and reliant on her new soulmate, tensions rise among those in her inner circle, including Michael Gambon’s Prime Minister Lord Salisbury, Olivia Williams’ Baroness Churchill, and Paul Higgins’ Dr. Reid, the queen’s personal physician. Their shared resentment of being pushed aside by this foreign outsider is stoked to the point that an outright mutiny is eventually threatened, and race, class, and out-sized privilege all play a role in this.
Whether it’s the costumes, the gorgeous real-life settings and interiors, the perfectly timed lighting, the music, or any other technical aspect, everything is executed perfectly. In “Victoria and Abdul,” the imbalance between the two main characters is what causes the film’s one flaw to stand out. However, while Fazal is physically suited for his role and performs admirably, there is no way he will be able to compete with Dench in terms of acting skills. It’s as if a cloud and a boulder are battling it out in space.
There are a variety of pleasures to be had from witnessing a powerful, still-vital woman discover unexpected late-life joy of the platonic variety, despite this weakness. When Victoria and Abdul embark on a romantic journey to Florence, where Puccini himself (Simon Callow) performs for the queen and her entourage, it is guaranteed to put a smile on everyone’s faces. It is true that the ruler reciprocates with a strained rendition of “I’m Called Little Buttercup” by the composers Gilbert and Sullivan. It is a little off-key, much like this often-endearing portrait of an odd-couple relationship, but it is well worth the experience.
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