Elizabeth the Queen (33 page)

Philip taught all four children to shoot, as well as to cast into the pools of the River Dee and catch salmon with a well-tied fly. Anne stalked with her mother, and was often the only other woman on the hills tracking deer. Parents and children were bound by an appreciation of country traditions and rituals, including being smeared with blood on their cheeks after killing their first stag.

The family frequently took the Royal Train to the Highlands, and occasionally began their holiday with a cruise on
Britannia
through the Western Isles of Scotland. Starting in the late 1960s, the sea voyage became a regular tradition. It was one of the few times when the Queen wore trousers other than on horseback or while participating in field sports, mainly so she could easily (and modestly) go up and down the ladders onto launches when they went ashore on deserted beaches for picnics. The culmination of the cruise was “
Britannia
Day,” when they stopped in Caithness on the northern coast. They would disembark at the port of Scrabster and travel in a caravan of cars to the Castle of Mey, where the Queen Mother had been preparing for weeks, assisted by her lady-in-waiting Ruth Fermoy, giving instructions to her chef, and checking on the ripeness of the fruits and vegetables in her garden. One year the Queen Mother sent an urgent message to her daughter on
Britannia:
“There is a grave shortage of lemons. Could you please bring a couple with you? M.” The Queen obligingly emerged from the royal yacht clutching a plastic bag filled with lemons.

The royal party strolled through the walled gardens before sitting down in the dining room at Mey for a luncheon of
oeufs Drumkilbo
(a mousse of eggs, prawns, and lobster, a favorite of the Queen Mother), salmon, chicken, lamb, and summer pudding. In the afternoon they visited the adjacent farm or walked toward the sea, and headed back to Scrabster after tea. By tradition, the Queen and her mother sent each other farewell poems through the Coast Guard (“A meal of such splendour, repast of such zest. It will take us to Sunday just to digest. To leafy Balmoral we are now on our way, but our hearts will remain at the Castle of Mey”). When
Britannia
steamed along the coast, flares were launched from both ship and shore as the Queen Mother, her friends, and staff lined up behind the castle, waving tea towels and tablecloths. In the distance through binoculars, they could see the tiny figure of the Queen on deck, waving her own white cloth while
Britannia
blew its horn.

T
HE ROYAL FAMILY
acquired an unusual addition in the spring of 1967 when Philip’s mother came to live at Buckingham Palace at the Queen’s invitation. Impoverished and frail, eighty-two-year-old Princess Alice had been living in Athens, where she had finally been forced to close her nursing sisterhood due to financial problems. Although she was not a real nun, she continued to wear her gray habit as a practical matter. “She did not have to worry about clothes or getting her hair done,” Philip explained to Hugo Vickers, his mother’s biographer.

Unlike the Queen Mother, who was an integral part of nearly every important gathering, Alice had always been a family satellite, orbiting in and out on visits to London, Windsor, Sandringham, and Balmoral. She disconcertingly referred to Philip by his nursery name, “Bubby-kins,” and all the grandchildren called her “Yaya,” the Greek name for grandmother. They were both fascinated and terrified by her eccentricities and her deep voice. A cigarette always in hand, she announced her rather spectral presence with a plume of smoke and hacking cough.

Alice had her son’s direct manner, which her deafness made even more formidable. “Oh, I thought you were saying something interesting,” she said to the Queen’s assistant private secretary Edward Ford after he had repeated an admittedly banal question about the circus several times during dinner. Anne acknowledged that Alice was not a “cuddly granny,” and Charles admitted being intimidated at first. But they were soon enraptured by her childhood tales of Queen Victoria, and her intriguing theories, such as the need to “compartmentalize” the brain.

When she moved into her suite—two rooms on the first floor just to the right of the balcony in the front of Buckingham Palace—Andrew and Edward often came to play halma, a form of Chinese checkers. The Queen was also a frequent visitor, and communicated well with her mother-in-law, even joining the elderly princess to watch the Changing of the Guard outside her window. Philip, while devoted to his mother, had a prickly relationship with her—“not arguments, but let’s say slight differences of agreement,” Anne explained to Hugo Vickers. “My father would then go off down the corridor muttering, and she would be in her room muttering too.”

Alice suffered from chronic bronchitis, and after her eighty-fourth birthday in February 1969 her health went into a steep decline. She died in her sleep on December 5, and she was buried at Windsor, where she had been born. Her worldly goods were even more meager than those of her late husband—just three dressing gowns that were immediately distributed to her nurses.

A
LICE HAD REMAINED
out of the public eye during her final years at the Palace, and she didn’t make even a cameo appearance in the most consequential media project ever to involve the royal family, a unique documentary film offering a fly-on-the-wall view of them at work and at play. It was the collective brainchild of Prince Philip; John Brabourne, who was a successful filmmaker; Dickie Mountbatten; and the Queen’s new press secretary, William Heseltine, who took over in 1968 after the retirement of Commander Sir Richard Colville, the man in charge of dealing with the press since King George VI appointed him in 1947. To recognize his long service, the Queen had knighted Colville in 1965.

For more than two decades, his mandate had been unabashedly protective. “We are not publicity agents for the royal family,” he said in 1949. “We are here to tell the press how far they cannot go.” His main job was to spoon-feed anodyne royal tidbits to the two court correspondents for the Press Association, the principal British news agency, who had their own office in Buckingham Palace, and to orchestrate silent newsreel footage of the Queen in her public appearances at home and abroad.

But by the 1960s, the perception had taken hold that the Queen was losing touch with her subjects, who were beginning to think she and her family were dull, to wonder what exactly she did for a living, and more ominously, to question whether she was giving good value for government money spent on her and her family. Philip was the only family member who had seen television as an effective communications tool. Since his 1957 documentary on his Commonwealth tour, he had hosted a second program about the Galápagos Islands a decade later, and he had also been the first to sit for a television interview in 1961.

Philip found a kindred spirit in William Heseltine, a forthright Australian—the very opposite of the buttoned-up aristocrats who traditionally served the monarch—with a modern point of view. “I was quite a different kind of person,” Heseltine recalled. “I did think the strategy of keeping the private and public lives far apart had perhaps gone a little too far” and that the Queen and her family had become “rather one-dimensional figures.” His idea, shared by Philip and the others, was to show the Queen hard at work in a variety of settings, to get across the “relentlessness” of her job, and to open the curtain on her private life as a wife and mother in places never before seen by the public. The film would be broadcast just before the investiture of Prince Charles as the Prince of Wales in July 1969, introducing him as the symbol of the monarchy’s new generation as he reached his twenty-first year.

Above all, the architects of the film wanted to convey Elizabeth II’s humanity behind the lofty position of sovereign, and to exploit the wholesome image of her model family. “I think it is quite wrong that there should be a sense of remoteness or majesty,” said Philip. “If people see, whoever it happens to be, whatever head of state, as individuals, as people, I think it makes it much easier for them to accept the system or to feel part of the system.”

The Queen was reluctant at first, discomfited by the intrusiveness of the cameras. But when her longtime friend John Brabourne presented the idea, she said, “You can do it, and then we’ll see what it looks like.” Brabourne brought in Richard Cawston of the BBC to direct, and Philip supervised an advisory committee drawn from both the BBC and rival ITV, coordinating everything with Heseltine and his team. Elizabeth II acquiesced, said Gay Charteris, because “the Queen goes with what she has to do.” The film would be called, simply,
Royal Family
.

Shooting began on June 8, 1968, and continued for nearly a year. The Queen submitted to lights, cameras, and crews over seventy-five days in 172 locations around the world, resulting in forty-three hours of film that was eventually cut to 110 minutes. She was ill at ease initially, but Cawston managed to relax her, and she became less conscious of his presence, even when he was filming at close range. “She suddenly discovered it was something she could do,” said John Brabourne. She teasingly called the director “Cawston,” and invited him to meals so they could discuss camera angles and lighting. “Can’t we avoid a shadow here?” she would say, slipping into the filmmaker’s argot. “We can’t have a backlit ambassador.” When she asked to see the rushes, Cawston declined, saying she might feel self-conscious.

The novelty of the film was the juxtaposition of public and private, reinforcing a new image of the Queen as a working mother at a desk littered with papers in an office at once formal and cozy. For the first time, viewers could see the plain interior of the Royal Train, the country house comfort of
Britannia
’s drawing rooms, and the private apartments at Windsor Castle and Buckingham Palace.

The filmmakers covered the professional bases: the Queen dispensing honors; making her official rounds on state visits to Chile and Brazil; discussing her Brazil speech with private secretary Michael Adeane (“Not enough thanks … It seems a bit churlish not to thank them”); greeting Harold Wilson at his weekly audience; receiving ambassadors; making stilted conversation with President Richard Nixon before a Buckingham Palace luncheon; presiding over one of her garden parties; riding sidesaddle at her birthday parade; circulating through receptions at Buckingham Palace. Charles was shown in action on water skis and a bicycle, and joking about writing a paper for his history course. Philip was filmed while piloting an airplane and a helicopter, working on his charities in his office (more sleek and modern than his wife’s), and painting a landscape. At crucial intervals the red boxes appeared—aboard the Royal Train, being lowered onto the deck of
Britannia
by helicopter, at Balmoral and Sandringham.

Aside from emphasizing the Queen’s dedication, the film provided the first extended look at what she was like in her off-hours: in her riding habit feeding carrots to her horses and with Anne on the gallops in Berkshire; examining a necklace of enormous rubies with Bobo MacDonald; washing dishes; driving the children in a Land Rover to visit puppies at the Sandringham kennels; orchestrating a family barbecue at Loch Muick with Philip, Charles, Anne, Andrew, Edward, and the corgis; laughing with her children at an American sitcom on television and trading stories around the table at lunch; decorating a Christmas tree with her extended family, including the Queen Mother, who reminisced about “the King.” Excluded were any scenes of stalking or shooting, for fear they would seem elitist or bloodthirsty.

A previously unseen tenderness emerged as the Queen sat on a sofa with her two young sons, pointing out photographs in a family album, and during an excursion with Edward to a shop near Balmoral. Fishing some coins out of a change purse she said to the woman at the counter, “This is all I’ve got.” As Edward waited in the front seat of her car, she handed him some candy and said with a giggle, “Disgusting! This is going to be a gooey mess!”

In one of the most discussed sequences in the film, editing was used to distort reality and compound an unfortunate impression. U.S. ambassador to the Court of St. James’s Walter Annenberg presented his credentials to the Queen on April 29, 1969, in one of the most formal and time-honored of her ceremonies. “Court Dress” is white tie, tailcoat, and top hat, and the ambassador is driven to the late-morning audience at Buckingham Palace in one of the Queen’s gilded carriages with a coachman and footman in long red coats and silk hats. By that gesture, the Queen signals her personal responsibility for the diplomat, and she has been known to chastise Palace officials who don’t send out the carriage in bad weather. “She never underplays the importance of ceremony,” said a diplomat who assisted at many of the credentials presentations. “But part of the Queen’s process and style is to put the other person at ease as soon as she can after the formal bit. She does combine formality and informality in a remarkable way.”

Walter Annenberg had rehearsed his lines repeatedly, and he and his wife, Lee, had practiced their bows and curtsys. On the appointed morning, after he had perfectly executed his steps, bows, and presentation of “the letter of recall of my predecessor and my own letters of credence,” the Queen tried to lighten the mood in her usual manner by asking where he and his wife were living. “We’re in the embassy residence,” he replied, “subject, of course, to some of the discomfiture as a result of a need for, uh, elements of refurbishment and rehabilitation.” Her expression momentarily puzzled, she swiftly moved to the next step of receiving embassy staff and Lee Annenberg.

As if to emphasize the ambassador’s apparent buffoonery, the next scene in the film showed the Queen entering a Buckingham Palace party for diplomats. “He’s not here,” she murmured to her husband. “Who’s not here?” Philip asked. “The American ambassador,” she replied with an amused smile—implying she meant the hapless Annenberg, while in fact she was referring to his predecessor, David Bruce, and the reception had actually taken place the previous November.