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  • - The pictures that Tony takes of Margaret,

  • as I say, are unlike anything that has ever been seen,

  • and when they end up on the front page of the paper,

  • well, it's almost enough

  • to make the queen choke on her Corn Flakes.

  • My name is Katie Nicholl, Vanity Fair's royal correspondent,

  • and today I'll be reviewing clips

  • from the television show "The Crown".

  • [regal instrumental music]

  • I'm here in London, in isolation like many of you,

  • house-bound, so what better opportunity than now

  • to dip into the three brilliant series of "The Crown"

  • to really depict what is fact and what is fiction?

  • Please excuse any technical difficulties

  • because we are recording on Skype.

  • It's the best way that we can bring our VF reviews

  • to you at home.

  • Sit back and enjoy.

  • - [Winston] Ma'am, word has reached me

  • that it is your desire that you

  • and your children keep your husband's name, Mountbatten.

  • - It is.

  • - Ma'am, you must not.

  • It would be a grave mistake.

  • - This is from actually my favorite series

  • of "The Crown," the first series,

  • partly because I just think

  • Claire Foy was absolutely outstanding

  • playing Princess Elizabeth and then the queen.

  • This scene is a really powerful scene

  • because as Elizabeth comes to terms with being queen,

  • she became queen when she was just a young girl,

  • her father George VI had died.

  • There was so much change for her after that,

  • and one of the major changes was Philip

  • and what his position in the household was going to be.

  • And this scene, you see Churchill making it very clear

  • what Philip's title has to be.

  • - His real name, you'll not need reminding,

  • was Schleswig-Holstein-Sonderburg-Glucksburg

  • of the Royal houses of Denmark and Norway

  • and, latterly, of Greece.

  • - It is absolutely the case

  • that the prime minister at the time,

  • Winston Churchill, had concerns about Philip,

  • the Duke of Edinburgh, what his title,

  • what his name should be.

  • - [Winston] And should be no exception.

  • - Yes, I am queen, but I am also a woman.

  • - You see the queen explaining

  • that she isn't just a queen, she is a wife as well.

  • And she knows that, you know,

  • Philip is a strong man, he could be quite opinionated,

  • and he had already felt very much relegated

  • to second place, like he was always going

  • to play second fiddle to his wife,

  • so she knew that giving him a title,

  • a name in his own right, so that he had a place

  • and a prominence in the family was really important.

  • You know, and the queen did put her foot down,

  • she made it clear that he had an important role

  • within the royal family, and his past, and his history,

  • and his heritage couldn't simply be erased

  • because it was more convenient for the British government.

  • Well, I was lucky enough to visit the set of "The Crown"

  • for the first series, and I was absolutely blown away

  • by how beautifully produced this series was.

  • The attention to detail, the recreation

  • of Buckingham palace, you know, I have to say,

  • they did do a brilliant job.

  • - Trade Unionists and businessmen in the Abbey?

  • - If you want to stay on the throne, yes.

  • - In a trimmed-down televised coronation?

  • - If you want to avoid a revolution, yes.

  • You forget, I have seen first-hand what it is like

  • for a royal family to be overthrown

  • because they were out of step with the people.

  • - Not a lot of people realize

  • that Philip has been a huge modernizer for the royal family.

  • You know, this about her coronation,

  • whether or not it's going to be televised.

  • Elizabeth feels that it cheapens everything

  • by having it in people's living rooms

  • that she feels that she has been taught by her father

  • that the magic of monarchy is its mystique.

  • - I left Greece in an orange crate.

  • My father would have been killed.

  • My grandfather was, I'm just trying to protect you.

  • - From whom, the British people?

  • You have no idea who they are or what they want.

  • - Oh, oh, I'm just Johnny Foreigner, again,

  • who doesn't understand, fine, fine.

  • - A lot of this background is accurate

  • about Greece, where Philip came from.

  • He's able to bring a different perspective to Elizabeth.

  • Philip is astute enough to recognize

  • that the people need to get behind her as Queen.

  • They want to feel a part of this.

  • - You want a big overblown ceremony costing a fortune

  • while the rest of the country is on rations, have it.

  • But don't come bleating to me when your head

  • and the heads of our children are on spikes.

  • - I think it's true to say that the depiction

  • of Philip is a little bit of a stereotype,

  • you know, that he is very brusque and abrupt.

  • Without a doubt, he's a strong character,

  • I think probably the producers

  • on this show have capitalized on that.

  • - If you put it in their homes, allow them

  • to watch it with their dinner on their laps.

  • - It will democratize it, make them feel

  • that they share in it, understand it.

  • - All right.

  • All right.

  • - Well, you see the queen in this scene,

  • giving into her husband.

  • It was the first coronation to be televised,

  • and it was a great success.

  • So ultimately, I think on many key occasions,

  • the queen does listen to her husband

  • when actually it goes against her natural instinct,

  • and I don't think people give Philip enough credit

  • for being the modernizer in the royal family

  • that he has been on so many things,

  • from driving electric car to saying to his wife,

  • "You want the people to get behind you?

  • "Let them into your living room."

  • - Bermuda, Jamaica, Australia, Ceylon, Uganda.

  • It's going to be hot, Your Majesty.

  • To that end, we've been working a great deal with organza,

  • crepe de Chine and shantung silk.

  • - This would have absolutely happened.

  • The queen would have been presented

  • with a look-book, with textures, with fabrics, with gowns,

  • with ideas, nothing is by chance when it comes

  • to the royal wardrobe,

  • everything has been carefully coordinated, carefully picked.

  • - We also wanted to feature something particular

  • to each location, so we thought sprigs

  • of native wild flowers indigenous

  • to each country that you're visiting.

  • - She will color coordinate

  • or her aides will color coordinate her outfit

  • so that she uses the colors to pay tribute

  • to the host nation.

  • - On Her Majesty's arrival in Sydney,

  • we propose a white organza dress scattered

  • with pale yellow wattle blossom.

  • - How many dresses are there?

  • - [Hartnell] One hundred. - One hundred.

  • And hats?

  • - Thirty-six.

  • - Pairs of shoes?

  • - [Hartnell] Fifty.

  • - Isn't this all a bit much?

  • - Well it does sound like a lot, doesn't it?

  • That many pairs of shoes.

  • For queen Elizabeth, who was about to embark

  • on an all important tour of the common world,

  • she was away for nearly six months,

  • but when you look at that common world's tour wardrobe,

  • she really wore some spectacular hats,

  • she played with color, and don't forget

  • that this was a tour designed

  • to grab headlines around the world.

  • It made her visible, she had the world stage

  • as a platform, what she wore was incredibly important,

  • whether that is her use of block color,

  • her absolute passion for hats,

  • her penchant for Launer handbags,

  • she has owned these styles, these brands,

  • she has made them her own.

  • Being quite short, you know, she's not much

  • over five foot, a hat and a strong color is a great way

  • to pop out and be seen in the crowd.

  • - We don't know who you are, either.

  • The rest of us, outside the palace gates.

  • - That's because we keep feeding you the fairy tale.

  • - So in this clip, we're seeing Tony Armstrong-Jones,

  • who Margaret went on to marry, photographing her

  • in his studio.

  • - Like this.

  • - Ah.

  • Jesus.

  • I'm sorry, but,

  • [photo falls]

  • Cecil is a disgrace.

  • - When they refer to Cecil,

  • they're talking about Cecil Beaton,

  • who for many years was the photographer

  • that the royal family would go to

  • for official portraits and pictures,

  • but the pictures that Tony took

  • of Margaret were completely different.

  • [camera clicks]

  • - But that business with Peter Townsend.

  • - One of the things I love

  • about Margaret is the love affairs

  • that she has were so well captured in "The Crown".

  • There is a real sexual tension between them,

  • but I think it's really well captured.

  • [soft sensual music]

  • The pictures that Tony takes of Margaret,

  • as I say, are unlike anything that's every been seen,

  • and when they end up on the front page of the paper,

  • well, it's almost enough to make the queen choke

  • on her Corn Flakes, as you see later on in this series.

  • Vanessa Kirby plays Margaret beautifully,

  • there is an amazing, not just physical resemblance,

  • but the way that she has Margaret's isms,

  • from the way that she lights her cigarettes,

  • to the way that she dances, the way that she moves,

  • she really does have Margaret down to a T

  • 'cause she's everything that the Queen can't be,

  • because she's the younger sister who can be the Queen

  • of Mustique, the royal rebel, flamboyant when it comes

  • to partying and entertaining, and an absolute lover

  • of all things sartorial, and the royal wardrobe

  • for Margaret is absolutely fantastic

  • in this series of "The Crown".

  • - So what are you going to do?

  • - Princess Anne has a reputation

  • for being probably the most down to Earth royal,

  • and there is a brilliant scene in that episode

  • where Prince Philip, her father, is sat down,

  • and said, "We need you to sit down with the journalist."

  • - Actually I was hoping we might talk about

  • what you're going to do.

  • I would like to offer you to the Manchester Guardian.

  • - Prince Philip, as we said earlier, was

  • in charge of the royal family and its image.

  • So he sends Anne to be interviewed by The Guardian,

  • not a paper that was going

  • to be sympathetic to the royal family.

  • On this particular moment,

  • the Duke of Edinburgh suggests going for a left-wing paper.

  • - Why them?

  • Why not the Daily Telegraph or the Daily Mail

  • or someone we could expect to be a little bit friendly?

  • - Not only is the likeness so uncanny,

  • she has all of Princess Anne's feistiness,

  • she has Anne's one-liners down to a T.

  • - Because in the light of all this criticism, an endorsement

  • from our most vocal critics would represent more

  • of a turn around.

  • - If we can get an endorsement.

  • - You're the most thrifty, feet-on-the-ground,

  • low profile, unpretentious royal we've got.

  • If anyone can salvage this, you can.

  • - And the interview is a great success

  • because it really scratches beneath the surface.

  • So this idea that Princess Anne was really pushed out

  • to promote a different image of the royal family,

  • it did happen.

  • So this idea of the royals using the press is something

  • that continues today.

  • Happened then, still happens now.