THE DUCHESS **

GEORGIANA SPENCER was born in the late 18th century. She came from an aristocratic English family and was of good breeding. Her niece was LADY CAROLINE LAMB, who was most famously entwined with LORD BYRON.

Georgiana is coltishly lovely, vivacious, intelligent. She is charismatically portrayed by the talented KEIRA KNIGHTLEY.

William Cavendish, the Duke of Devonshire (RALPH FIENNES), is actively looking for a suitable wife for one reason: a male heir to carry on the family name. The Duke has a decidedly wintry temperament. His blood has been fashioned out of Arctic storms and his deep green eyes glitter like cut glass. He is so desperately cruel and unfeeling that it goes far beyond the male domination that is his birthright.

It borders on the pathological.

When he tells Georgiana much later that he loves her “in the way that I understand love,” it’s difficult not to explode.

The Duke has a meeting with Georgiana’s scheming mother (CHARLOTTE RAMPLING). He wastes no time or energy in explaining what he really wants and her mother agrees to it. Georgiana is only 17 and reasonably sheltered. She can’t believe her good fortune. Especially when the Duke has only met her twice. How could he possibly fall in love with her so quickly? Her mother asserts that when it’s genuinely right, it doesn’t take long.

But the marriage is not what Georgiana expects. She’s young and full of life. She wants passion and romance. Even though she was sexually inexperienced on her wedding day, she realizes quickly that she’s getting the short end of the stick. The Duke is reasonably affectionate with his dogs. Otherwise he never talks to her or makes any attempt whatsoever to acknowledge her existence. He sleeps with her just enough to insure that a pregnancy may be possible.

But there are more indignities to come…

After being married for some time, Georgiana arrives at a particularly humiliating conclusion. Not only is the Duke not in love with her (he’s frankly incapable of such a treasured emotion) but he doesn’t find her terribly attractive either. He is totally immune to her incredible charms. All of them. After a chance encounter with an unclothed woman running from his bedroom, Georgiana understands that the Duke has no intention of ever being faithful to her.

A child arrives on their doorstep. She is the Duke’s illegitimate daughter Charlotte. She’s from a relationship that preceded the marriage. Georgiana is informed that she must take the girl in and treat her as if she were her own daughter.

When Georgiana finally has children, she gives birth to two girls. The Duke is not pleased.

There was nothing between Georgiana and the Duke from the beginning. Georgiana (despite her mother’s warnings) tries valiantly to assert herself outside of the marriage. Her options are very limited. Women are over 100 years away from voting or being acknowledged as persons legally in their own right. They are essentially their husbands’ property and are ultimately subject to any whims or wishes that he has.

But Georgiana, as the DUCHESS OF DEVONSHIRE, begins to blaze her own path. She becomes a popular icon of the day. Men adore her. Women want to be her. She travels in the most exclusive political circles, acting as an advisor and benefactor. She loves gambling and entertaining people with her wit and spirited personality. She is always dressed in the most lavish exquisite fashions, some of which she designed herself.

But Georgiana is weary. Her life is empty. She really has nothing.

She becomes good friends with a woman that she sees on her evenings out. Bess Foster (HAYLEY ATWELL) has marital problems of her own. She has three boys and her husband is abusive. Georgiana asks Bess to stay with her and her family.

To her great surprise and horror, this brings about the ultimate betrayal from both directions. The Duke takes a fancy to Bess and she becomes his mistress. Georgiana is outraged. They leave the house for a short time and then return with Bess’ boys. Then Bess and the Duke live in that home essentially as husband and wife – with Georgiana looking in from the outside.

The reason that the relationship survives is simple. Bess has a different personality and doesn’t mind being a doormat. Or, as she explains to Georgiana, “I don’t make any demands on him.”

But Georgiana still has not produced a male heir. The Duke forces himself on her sexually while Bess, fully aware, is in the same house. Georgiana finally gives birth to a son.

She expects that this will buy her some freedom and extra privileges. But that is short lived.

Georgiana was always intensely attracted to CHARLES GRAY (the excellent DOMINIC COOPER). She’s known him her entire life. She continues to see him at various functions and the two become increasingly close. When he finds out her marriage is a sham, it gives him the courage to act. Charles tells her how much he cares and how he longs to be with her. He has significant political ambitions and he thinks that they could be happy together.

Georgiana’s mother speaks to her disapprovingly about the torrent of gossip circulating. She insists that the Duke loves her and has been a wonderful husband to her. Is that how she shows her gratitude? The Duchess, for her part, doesn’t give a damn. She’s had enough. She just wants to be happy.

The Duke has a serious discussion with Georgiana. He says that when they married he only asked her for two things: a son and loyalty. Georgiana can not understand why male companionship of any kind is forbidden to her when the Duke’s mistress is living in their house and sharing the same bed with him. But, unfortunately, the Duke will give her no concessions.

Georgiana defies the Duke and has an affair with Charles. They are madly in love. Charles begs her to leave and start a new life with him.

When Georgiana tells the Duke of her plans, he informs her that if she leaves him, she will never see her children again. He will make sure that Charles’ connections are completely finished. He will not be able to raise any money, have any influence or be received in anyone’s home. His blossoming political career will be totally destroyed.

THE DUCHESS is based on the biography from AMANDA FOREMAN. Interestingly, GEORGIANA SPENCER is an ancestor of PRINCESS DIANA’S and there are a lot of relevant paralllels to be found in terms of the lives of the two young women.

As costume dramas go, it’s an incredible bore.

The acting is good across the board and it’s lovely to look at. It’s shot in deep, rich hues that are endlessly enveloping. The art direction is magnificent – enormous homes filled with sculpted marble and every other exquisite thing you could imagine.

The clothes (which were designed by MICHAEL O’CONNOR, who also did the stunning wardrobe on MISS PETTIGREW LIVES FOR A DAY) are particularly ravishing. You do get a distinct feel for the period. But that’s hardly enough.

This was a rather interesting story about a fascinating young woman who never lived up to her potential due to the time she lived in. She rolled the dice and lost. None of this was her fault.

Back then girls knew nothing about life or what they were expected to endure as women. Georgiana made a choice at 17 when she had no actual idea about her place in the world. It is particularly tragic that she had to suffer at the hands of such a horrible inhuman spouse when she was such a wonderful person with so many fine qualities.

The film is unbelievably gloomy and it’s not terribly involving.

(Incidentally, there are scenes where the characters are supposed to be naked. But you can’t see anything. This is hardly a sensual feast or any kind of a motion picture that will get you going. It’s just flat – like the most unwelcome withering pancake.)

Director SAUL DIBB exhibits a certain amount of potential. But he fares better with the splendid visuals and the actors than he does with the story. It’s just not compelling. The last hour is entirely made up of Georgiana fighting to get her way and the Duke opposing it. After this happens twice (with the Duke winning), you get the general idea. There is no dramatic tension or suspense. You know what’s coming.

THE DUCHESS is depressing and as dreary and dull as dishwater.

Definitively….