31 August 1997. We all know where we were when we heard the news. It was our generation’s JFK. Or John Lennon. In London the scent of the flowers left for Diana at the gates of Buckingham Palace was overpowering, stretching out to the west, as far as Heathrow Airport. Peter Morgan’s screenplay grasps the nettle of this story’s symbolism – Diana the huntress, hounded to her death. The Queen, a hunter, hiding out in Balmoral. And he extends the symbolism to the hunting of a stag whom she finally feels is a kindred spirit and who is wounded by an investment banker on a neighbouring estate and fatally shot in order to be relieved of his agonies by the proprietor’s men. The knotty issue of Queen Elizabeth II’s controversial response to her former daughter in law’s death in Paris is teased out both on this dramatic cord and that between her and her new Prime Minister, freshly elected Tony Blair (and boy was that a moment). “She hated her guts,” declares Cherie Blair while her husband wrestles with a public announcement which will culminate in his famous speech written by Alastair Campbell, with the line ‘the People’s Princess.’ “”They screwed up her life, let’s hope they don’t screw up her death,” Tony says to Cherie. Prince Charles wants a private jet to take Diana home. The family objects. Ironically he fears being shot, such is the growing public anger to which the Queen and Prince Philip appear oblivious on their 40,000 acre Scottish hunting estate. It’s a private family matter as far as they’re concerned. Roger Allam as Robin Janvrin the Queen’s secretary, plays go-between as the staff at Number 10 try to deal with the mounting crisis, with daily newspaper headlines and TV vox pops expressing public distress at the Queen’s failure to appear in London or even to raise a flag at half mast. “One in four,” muses the Queen when she hears how many people want the monarchy to end. “I’ve never been hated like that before.” How the compromise is reached between this model of royal restraint and the arriviste smiling moderniser is masterfully accomplished with a brisk, clean style effectively delivered by Stephen Frears. And, as Cherie Blair whoops, “At the end of the day, all Labour Prime Ministers go gaga for the Queen.” Witty, sharp, smart as anything and goodness what a time it was, as the extremely well chosen archive clips remind us. Helen Mirren won the Academy Award for a particularly well observed performance. Peter Morgan continues to write about the Royals, to some acclaim! And Mirren continues to play the Queen now and then. But the elephant in the room of course is the absent woman at the drama’s centre – and what a shadow the People’s Princess has left. A considerable achievement in all respects.