Name: The Lost King
Genre: Comedy, Drama, History
Released: 2022-10-07T00:00:00+00:00
Cast: Sally Hawkins, Steve Coogan, Harry Lloyd, Mark Addy, James Fleet

The scene is stark, almost absurd: Sally Hawkins’ Philippa Langley, a woman battling chronic illness and professional setbacks, stands in the middle of a Leicester parking lot, convinced that beneath the tarmac lies the long-lost remains of King Richard III. This isn’t the stuff of high drama or sweeping historical epics, but Stephen Frears’ The Lost King finds its power in this very specificity—the ordinary and the extraordinary colliding in the most unlikely of places.

Based on the true story of Philippa Langley’s quest to uncover Richard III’s remains, The Lost King is a biographical drama with a comedic edge, written by Steve Coogan and Jeff Pope. Frears, known for his sharp social commentaries like The Queen and Philomena, brings his signature wit and warmth to this tale of an amateur historian taking on the academic establishment. The film premiered at the Toronto International Film Festival in 2022 and received generally positive reviews, though not without controversy.

What works best in The Lost King is Hawkins’ performance. She imbues Philippa with a mix of vulnerability and steely determination, making her relatable even when her obsession borders on the eccentric. The scenes where she grapples with her chronic illness (myalgic encephalomyelitis) are particularly poignant, grounding the film in a raw, human reality. Coogan, playing Langley’s ex-husband John, provides solid support, balancing humor and heart. Their dynamic is one of the film’s standout elements, lending credibility to the emotional core of the story.

Hawkins’ portrayal of Philippa is a masterclass in subtle acting. She conveys the character’s physical and emotional struggles with remarkable nuance, using her expressive eyes and body language to communicate Philippa’s inner turmoil. The scene where Philippa confronts her boss about being passed over for a promotion is a standout moment. Hawkins’ delivery, in which she insists her illness has never affected her work, is played with a quiet fury that resonates long after the scene ends.

Steve Coogan, known for his comedic roles, proves his dramatic chops in The Lost King. His portrayal of John Langley is nuanced and layered, balancing humor and heart. The dynamic between Hawkins and Coogan is electric, their chemistry lending credibility to the emotional core of the story. Their scenes together are some of the film’s most compelling, as they navigate the complexities of co-parenting and ex-spousal dynamics.

The supporting cast is equally impressive. Harry Lloyd, who plays both Richard III and Pete, adds a touch of whimsy to the film with his dual roles. Mark Addy as Richard Buckley brings a grounded presence to the academic world, while James Fleet as John Ashdown-Hill provides a steady hand in guiding Philippa’s research.

The film’s strength lies in its ability to blend comedy and drama seamlessly. Frears’ direction keeps the tone light even as it tackles serious themes like academic arrogance, gender bias, and the power of perseverance. The scenes at the University of Leicester, where Philippa faces dismissal and condescension from the male-dominated academic world, are sharply written and expertly acted. The humor here is dry and incisive, a hallmark of Frears’ style.

One of the film’s most compelling themes is the struggle for historical truth versus the narrative control exerted by institutions. Philippa’s quest to uncover Richard III’s remains is not just a personal journey but a challenge to the academic establishment that has long dismissed her theories. The film explores this tension with nuance, showing both the arrogance of the academics and the determination of Philippa.

However, The Lost King isn’t without its flaws. The pacing occasionally feels uneven, with some scenes lingering longer than necessary while others rush through critical moments. The film’s attempt to balance historical drama with personal comedy sometimes leads to tonal whiplash, particularly in the latter half where the stakes feel both monumental and mundane.

Moreover, the film’s portrayal of certain characters, notably Richard Taylor (Lee Ingleby), has been controversial. A legal settlement was reached regarding the depiction of Taylor, highlighting the fine line between dramatic license and defamation. This controversy underscores one of the film’s central tensions: the struggle for historical truth versus the narrative control exerted by institutions.

Visually, The Lost King is competent but unremarkable. Frears’ use of long takes and natural lighting creates an intimate, almost documentary-like feel, but it lacks the visual flair that might have elevated the film’s more fantastical elements—like Philippa’s visions of Richard III—to something truly memorable.

In comparison to other biographical dramas, The Lost King stands out for its blend of humor and heart. While films like The Social Network and The Imitation Game focus on the dramatic aspects of their subjects’ lives, The Lost King balances comedy and drama with a deft touch. This makes it accessible to a broader audience, appealing not just to history buffs but also to those who enjoy character-driven stories.

The Lost King is a film for anyone who enjoys a good underdog story. It’s a tale of perseverance, determination, and the power of belief in oneself. The film’s exploration of themes like gender bias and academic arrogance makes it relevant to contemporary audiences, while its blend of comedy and drama ensures that it never takes itself too seriously.

In conclusion, The Lost King is a compelling tale of one woman’s fight against indifference and arrogance. Hawkins’ performance anchors the film, making Philippa Langley a character worth rooting for. The blend of comedy and drama keeps the film engaging, while the exploration of relevant themes adds depth to the story.