REEL CRITIC:

The plot of the recently released film “The Duchess” has a familiar ring to it. The story tells of a beautiful English royal in a loveless marriage to a titled aristocrat.

Unloved and unappreciated by her aloof husband, she is instead adored by the public and European society and takes a lover of her own. While this story has many similarities to the life of Diana Spencer, Princess of Wales, it is in fact about one of her antecedents, Georgiana Cavendish, Duchess of Devonshire.

Young Georgiana, played by Keira Knightley, lived a life of ease and privilege as the daughter of royalty. Thought to be an ideal match of age, lineage and upbringing, her family arranged for her to be married to William Cavendish, fifth Duke of Devonshire (Ralph Fiennes) in 1774, one day shy of her 17th birthday.

Hoping for love, Georgiana instead found that the Duke had little use for her other than as the producer of a male heir. Enormously wealthy and influential, the Duke seemed bored with the constant overtures of politicians and instead busied himself with his hunting dogs and various mistresses. The marriage was further strained by Georgiana having several miscarriages and giving birth to two daughters.

Georgiana became more and more involved with the many politicians who visited the palace. Her outspokenness, beauty and style endeared her to them and the public at large. Sought after by members of the Whig party for her ability to draw a crowd, Georgiana eventually became romantically involved with her childhood friend, Charles Grey (Dominic Cooper).

While tales of the late 18th century provide ample opportunity for lavish costumes and beautiful settings, they also portray the inflexibility of the period. Women could not vote and their roles were limited to bearing children and running the household. Even women of privilege could not inherit their family’s wealth as only a male heir could be named even if this meant a distant relative rather than the immediate family benefited. Husbands with means such as the Duke could exercise nearly complete control over their wives. If women were disowned they were most certainly destitute.

Against this backdrop “The Duchess” presents a visually rich and moving telling of Georgiana’s life. Knightley is a costumer’s dream as her slim figure and classically beautiful face allows her to wear the most outrageous dresses, hats and wigs with aplomb. She seems quite at ease in these costume dramas as her Academy Award nomination for “Pride and Prejudice” in 2006 attests. Her performance in this film may earn her a second. Knightley must portray Georgiana as an effusive darling of society who secretly chafes under the tight reins imposed by her husband.

Perhaps even more deserving of recognition is Fiennes’ portrayal of the Duke. Emotionally unavailable to virtually everyone, the Duke interacts with others solely to maintain his social standing and to assure his title and inheritance. William doesn’t love Georgiana, nor anyone it seems, but won’t let her go for the sake of appearances. Always displaying civility, the Duke’s relationships are nevertheless painfully strained. Fiennes’ Duke is a man clearly unhappy with his role in society, but is fearful to live any other way.

Director and writer Saul Dibb beautifully presents the incredible opulence enjoyed by the aristocrats of this era. Filming at actual period correct estate homes throughout England, the film offers one lavish scene after another. The political scene of this period is interestingly portrayed as well.

“The Duchess” is one of the early entrants in the soon to be crowded field of award contenders that traditionally are released this time of year. No matter what comes after, this film should be duly recognized.

VAN NOVACK is the assistant vice president of institutional research and assessment at Cal State Long Beach and lives in Huntington Beach with his wife, Elizabeth.