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"Honest to God,'' the man tells the woman, "I never thought to see you in such a state. You must miss him dreadfully.'' Between ordinary people, ordinary words. Between a commoner and a queen, sheer effrontery. How can this bearded man, a Scotsman who oversees Queen Victoria's palace at Balmoral, have the gall to look her in the eye and address her with such familiarity? The atmosphere in court is instantly tense and chilling. But the man, John Brown, has caught the queen's attention and cut through the miasma of two years' mourning for her beloved consort, Prince Albert. The little woman--a plump pudding dressed all in black--looks up sharply, and a certain light glints in her eyes. Before long she is taking Brown's advice that she must ride out daily, for the exercise and the fresh air.

"Mrs. Brown'' is a love story about two strong-willed people who find exhilaration in testing each other. It is not about sexual love, or even romantic love, really, but about that kind of love based on challenge and fascination. The film opens in 1864, when Queen Victoria ( Judi Dench ), consumed by mourning, has already been all but invisible to her subjects for two years. Her court coddles and curtseys to her, and that's what she expects: A nod or a glance from her can subdue an adviser.

Her household thinks perhaps riding might help her break out of her deep gloom. Import John Brown ( Billy Connolly ), a Scotsman in a kilt, arrives with one of the queen's horses and is promptly ignored. Not to be trifled with, he stands at attention in her courtyard, next to the horse. The next day he is there again. Proper behavior would have him waiting, docile and invisible, in the stables. "The queen will ride out if and when she chooses,'' Victoria informs him.

"And I intend to be there when she is ready,'' Brown informs Victoria.

Nobody in her life had spoken to her in this way, except perhaps for the beloved Prince Albert. A charge forms in the air between the queen and her servant. Victoria is a complex and observant woman, who knows exactly what he is doing and is thrilled by it: Queens perhaps grow tired of being fawned upon. Soon Brown and the queen are out riding, and soon the color has returned to her cheeks, and soon Brown is offering advice on how she should manage her affairs, and soon the household and the nation are whispering that this beastly man Brown is the power behind the throne.

"Mrs. Brown,'' they called her behind her back. Her son the Prince of Wales (David Westhead) is enraged to find that at Brown's order, the smoking room is to be closed at midnight ("Mr. Brown needs his rest,'' the queen serenely explains). Brown takes her riding in the country and they call at a humble cottage, and the queen is offered Scotch whisky. The national newspapers raise their eyebrows. Finally the prime minister, Benjamin Disraeli ( Antony Sher ), pays a visit to see for himself what is happening in the royal household.

Judi Dench has long been one of the reigning stars of the London stage. She often plays strong-willed, intelligent women. She has never been much interested in the movies, although she did play "M'' in a Bond film. This is her first starring role. She is wonderful in it, building the entire character on the rock of utter self-possession, and then showing that character possessed by another. Entrenched behind her desk, dressed in mourning, coils of braids framing her implacable face, she presents such a formidable facade that it is curiously erotic when Brown melts through it.

Billy Connolly is also little-known in films; he is a stand-up comic, I learn, although here he has the reserve and self-confidence that most stand-up comics lack almost by definition. There is a manliness to him, a robust defiance of the rules. He also drinks too much, and although he seems for a long time able to hold it, one of the movie's subtle themes is that the better he gets to know the queen the less sure he is of how he should proceed.

Would there be, could there be, physical sex between them? Almost certainly not. But they both tacitly recognize that they might enjoy it. The queen is not an attractive woman, but she is powerful, and power is thrilling; in one key scene Brown swims naked in the highlands, intoxicated by his closeness to the throne. Victoria is like a movie nun--like Deborah Kerr in "Black Narcissus''--in being all the more intriguing because she's forbidden.

"Mrs. Brown'' was written by Jeremy Brock and directed by John Madden , whose first film, the torturous "Ethan Frome," gave little promise of his confidence here. The movie is insidious in its methods, asking us to see what is happening beneath the guarded surfaces. The behavior of a queen and her servant is so minutely dictated by rules and customs that they may look much the same when breaking them as when following them. So much depends on the eyes.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Mrs. Brown (1997)

Rated PG Mature Themes, Brief Nudity

103 minutes

Antony Sher as Disraeli

Billy Connolly as John Brown

Geoffrey Palmer as Henry Ponsonby

Judi Dench as Queen Victoria

Directed by

• John Madden
• Jeremy Brock

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Tender royal period drama about friendship and loyalty.

A Lot or a Little?

What you will—and won't—find in this movie.

The value of friendship, trust, and loyalty underp

John Brown's character combines strength and confi

A character is attacked by two others -- kicking a

Some nudity when two characters run down the beach

A few uses of "God" and "hell." Language also incl

Occasional drinking of whiskey, including drinking

Parents need to know that Mrs. Brown is a poignant historical drama based on a true story that focuses on the value of friendship, issues over morality, and the role of the monarchy. Overall the movie has a gentle mood, although there are occasional brief moments of peril -- a character is attacked and left…

Positive Messages

The value of friendship, trust, and loyalty underpins the story. The movie also deals with bereavement and how friendship can help overcome grief.

Positive Role Models

John Brown's character combines strength and confidence with a gentle, caring nature. However, he is quick-tempered and at one point gets drunk and behaves aggressively. Queen Victoria is powerful and stubborn but her vulnerability and her dependence on John makes her more relatable.

Violence & Scariness

A character is attacked by two others -- kicking and punching not fully shown, but they are left with a bloody face. In subsequent scenes the character is cut and bruised. Characters hunt for deer with shotguns, but no animal is seen shot or hurt. A gunman attempts an assassination but is apprehended.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Some nudity when two characters run down the beach naked -- filmed from behind. They are then seen swimming in the sea naked, with glimpses just below the waist showing pubic hair.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

A few uses of "God" and "hell." Language also includes "horses--t," "arse," and "balls."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Drinking, Drugs & Smoking

Occasional drinking of whiskey, including drinking from a hip flask and downing a full glass. One character is seen drunk and unruly.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that Mrs. Brown is a poignant historical drama based on a true story that focuses on the value of friendship, issues over morality, and the role of the monarchy. Overall the movie has a gentle mood, although there are occasional brief moments of peril -- a character is attacked and left bruised and battered, and there is a foiled assassination attempt. There is brief nudity when two characters go swimming in the sea and there is some profanity including "God," "hell," "horses--t," and "arse." Spanning the years between 1863 and 1883 the movie depicts the friendship that developed between Queen Victoria ( Judi Dench ) and her servant John Brown ( Billy Connolly ) and the subsequent uproar it caused. While there is very little adult content, younger kids may find it difficult to follow some of the dialogue, particularly that which takes place among the politicians. However, the fundamental story of an intense friendship that bridges a social divide is simple and moving. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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What's the Story?

In MRS. BROWN, Queen Victoria ( Judi Dench ) is in mourning for her husband Prince Albert and remains withdrawn from public life. The royal household calls upon Albert's former servant John Brown ( Billy Connolly ) to attend to her. Brown, a straight-talking Scot who treats the Queen with candor, encourages her to go riding in order to lift her spirits. As their friendship deepens, rumors begin to circulate about their relationship. The pair try to rise above the controversy, but the Prime Minister, Benjamin Disraeli ( Antony Sher ) sees an opportunity to transform the Queen's flagging public image.

Is It Any Good?

Brilliant performances from the two lead actors -- Dench and Connolly -- as well as a witty, intelligent script make this a thoroughly enjoyable and thought-provoking movie. The development of the relationship between Queen Victoria and John Brown is a fascinating study of two worlds colliding and of the strength of platonic (or so we are led to believe) love.

The quiet chemistry between Dench and Connolly is compelling while the historical settings and true story factor will leave you enlightened but intrigued to know more -- at the time there was speculation over a sexual relationship between the Queen and Brown, and even a secret marriage, hence the title Mrs. Brown . There is also much to inspire discussion over the role of the monarchy and associated privacy rights -- both then and now.

Talk to Your Kids About ...

Families can talk about the relationship between Queen Victoria and John Brown in Mrs. Brown . Rumors about their relationship were printed in the media at the time. How does this compare to today? Has the media changed?

Queen Victoria remained in mourning for her late husband, Prince Albert, for 40 years. Discuss how grief can affect people differently.

Do you think kings and queens have a duty to be in the public eye? How much should the public be told about the private lives of the monarchy? Do you think the monarchy still plays an important role in society? How has it changed since Victorian times?

John Brown was among Queen Victoria's most loyal servants. What does loyalty mean? How important is it to be loyal? What other character strengths are displayed in their friendship?

Movie Details

• In theaters : July 18, 1997
• On DVD or streaming : April 22, 1998
• Cast : Judi Dench , Billy Connolly , Geoffrey Palmer
• Director : John Madden
• Inclusion Information : Female actors
• Studio : Buena Vista International
• Genre : Drama
• Topics : History
• Run time : 101 minutes
• MPAA rating : PG
• MPAA explanation : a beating, language and brief nudity
• Last updated : December 30, 2023

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Mrs. Brown (United Kingdom, 1997)

Mrs. Brown is a love story much in the same vein as Carrington in that it deals with platonic affection that runs deeper and truer than that of the motion picture staple romantic variety. These days, it seems that whenever we see a male/female friendship on screen, it's just a setup for the inevitable moment when the two realize that they're fated to be lovers. Not so with Mrs. Brown , one of the most emotionally sensitive and intelligent love stories of the year. It shows, amongst other things, that it's possible to love completely and with unflagging devotion without sex ever becoming an issue.

Queen Victoria was born on May 24, 1819 and died nearly eighty-two years later, in the first month of 1901. Her reign as England's monarch, which began in 1837, lasted more than six decades and left such an indelible impression upon the country that, upon hearing of her death, author Henry James wrote, "We all feel a bit motherless today." Mrs. Brown , which is based on actual events and uses historical figures, transpires during one of the darkest periods of Victoria's reign -- a four year segment from 1864 to 1868 (with a brief epilogue in 1883). Still mourning the death of her beloved husband, Prince Albert, who died over two years earlier, the Queen (Judi Dench) is in virtual seclusion at Windsor. She sees no one outside of her servants and her immediate family, rarely goes out, and has no taste for politics. In the words of her loyal secretary, Henry Posonby (Geoffrey Palmer), they are all "prisoners of the queen's grief," which he describes variously as "ferocious introspection" and "unfettered morbidity." So, in an attempt to revive Victoria, Posonby summons John Brown (Billy Connolly), the highlander who runs the queen's Scottish retreat of Balmoral, to Windsor. It's Posonby's hope that Brown will "appeal to the queen's sentimental belief that all highlanders are good for the health."

Brown arrives and proves to be a breath of fresh air. Before he enters Windsor, the castle is a place of icy silence and solitude. Director John Madden so effectively conveys this atmosphere that we become keenly aware of such things as a ticking clock and a cleared throat. Brown's attitude of speaking what he thinks, regardless of the consequences, horrifies the servants and family. But, after initially being annoyed, Victoria warms to his methods, and it isn't long before the two develop a unshakable friendship. They become so close, in fact, that wags begin calling the Queen "Mrs. Brown." The Prince of Wales, wary of Brown's growing influence over his mother, seeks to have the highlander sent back to Scotland. And the Prime Minister, Disraeli, wonders whether Brown is more likely to be a valuable ally or a dangerous enemy.

Like 1995's The Madness of King George , Mrs. Brown mixes the political machinations of various MPs with the growing fissure between the monarch and the Prince of Wales. However, while George may have been mad, Victoria is merely eccentric. Nevertheless, her extended period of mourning, during which she has been out of the public's sight, has created a great deal of uncertainty among her subjects, and Parliament is beginning to discuss the possibility of disestablishing the monarchy -- a prospect that horrifies Disraeli and Prince Edward.

Brown and Victoria's relationship develops and deepens slowly and naturally, and credit must be given to both of the lead actors, Judi Dench ("M" from Goldeneye and Tomorrow Never Dies ) and Billy Connolly (Howard Hessman's replacement in the TV series Head of the Class ), for their extraordinary performances. Both actors immerse themselves in their roles, playing Brown and the Queen without a hint of artifice, and the chemistry between them is palpable. Theirs is a wonderfully real relationship that is reminiscent of the one between Lytton Strachey and the title character of Carrington . (Ironically, Strachey is most famous for his 1921 biography of Queen Victoria.)

Perhaps the best thing of all about Mrs. Brown is that it doesn't offer any hokey, Hollywood-type moments. The picture remains true to itself throughout, affirming that film maker John Madden ( Ethan Frome ) has a keen insight into the human psyche. Mrs. Brown is a fascinating character study, a wonderful love story, and a brilliant period piece ( Masterpiece Theater and the BBC, both renowned for their costume dramas, are listed as co-producers). In a summer that is sure to be glutted with formulaic action thrillers and flat romantic comedies, Mrs. Brown will delight and touch any viewer who seeks it out.

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Her Majesty, Mrs. Brown Reviews

The director, John Madden, could have set this up as a minor tragedy, but he has the wit, especially in the first half, to play it cool and droll, and he is helped no end by finely gauged performances.

Full Review | Jul 19, 2021

There is something missing in the film. It is flat.

Full Review | Aug 17, 2018

Mrs. Brown is reserved yet spirited.

Full Review | May 6, 2016

A highly resonant testament to the redemptive power of love--one that transcends traditional romantic definitions.

Full Review | Original Score: 3.5/4 | Mar 31, 2009

terrific performances make it a must-see

Full Review | Original Score: 4/5 | Apr 20, 2008

Fine Judi Dench starring drama.

Full Review | Original Score: 5/5 | Apr 20, 2007

Centering on a lesser-known chapter in the reign of Queen Victoria, this richly detailed drama about her intimate relationship with her servant that scandalized the country is extremely well-acted; Judi Dench deserves an Oscar nomination

Full Review | Original Score: B+ | Jan 29, 2007

Full Review | Original Score: 4/5 | Mar 13, 2006

Dench is magnificent as Victoria, a toy-sized, black-suited, dough girl of despair, a woman slowly recovering her wits and her expectations.

Full Review | Feb 9, 2006

Full Review | Original Score: 3/5 | Sep 21, 2005

Full Review | Original Score: 3/5 | Jun 30, 2005

Full Review | Original Score: 4/5 | Oct 15, 2004

This discreet drama failed to get to me emotionally.

Full Review | Original Score: C+ | May 31, 2004

Full Review | Original Score: 6/10 | May 11, 2004

Interesting, but didn't love it.

Full Review | Original Score: 3/5 | Apr 19, 2004

Full Review | Original Score: 3/5 | Mar 30, 2004

Full Review | Original Score: 3/5 | Aug 22, 2003

Full Review | Original Score: 4/5 | Aug 16, 2003

Full Review | Original Score: 3/4 | May 20, 2003

Full Review | Original Score: 3/5 | Feb 28, 2003

Centering on a lesser-known chapter in the lengthy reign of Queen Victoria, "Mrs. Brown" is a sensitive, richly detailed drama about the extraordinarily complex and intimate friendship that she developed with her loyal servant John Brown, a relationship that scandalized the entire country and even threatened the stability of the crown. Two superlative performances, by legendary stage actress Judi Dench (in her first leading screen role) and Billy Connolly, elevate this costumer way above the level of a well-mounted "Masterpiece Theater" production. Though a bit static and lacking the exuberance of "The Madness of King George" (with which it shares some concerns), Miramax should expect positive response from educated viewers, who are likely to be absorbed by this tightly focused, emotionally rewarding film. "Mrs. Brown" is part political intrigue, part family drama --- and above all a passionate, if platonic, love story between two individuals who could not have been more different. As in Alan Bennett's "The Madness of King George," scripter Jeremy Brock aims at humanizing a mythic monarch by illuminating her personal life, or offstage personality, as it were. The appeal of these tales rests on audiences' curiosity about life behind the closed doors of public celebrities.

By Emanuel Levy

Emanuel Levy

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The story begins in 1864, three years after Queen Victoria (Dench) has lost her beloved husband and mentor, Albert, and plunged into a deep and dizzying depression, which results in a complete disappearance from public view. Despite unceasing efforts by some of her children, her loyal staff and her worshipful public, no one seems to be able to lift the spirits of the disconsolate queen, who’s soon labeled “The Widow of Windsor.”

Into this gloomy milieu enters Scottish servant Brown (Connolly), the Royal Family’s loyal hunting guide and horse caretaker, who devotes his life to one goal: cheering his queen and protecting her, both physically and emotionally, from any potential harm. Down-to-earth and with no regard for protocol, Brown causes immediate upheaval in the court.

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Charmingly nonchalant and single-mindedly committed to his task, Brown is the only person who doesn’t treat the queen with kid gloves. Indeed, Brown’s insolence seems to be working a magical spell on the queen, who, for the first time in years, begins to react emotionally. Spurred by Brown’s insistence, she begins to smile and resumes her rides, and spends long days walking with Brown and confiding in him.

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Despite the impossible barriers of class, politics and rigid norms, Victoria and Brown are attracted to each other as individuals needing intimacy, affection and loyalty. But as soon as the queen recommences the pleasures of “being alive” (as someone says), rumors of an affair begin to scandalize British society and a crisis in the monarchy seems inevitable.

Brown is contrasted with Prime Minister Disraeli (Anthony Sher), a shrewd, charismatic politician who understands that it’s the servant who holds the key to the queen’s return to public life, an act that will once and for all terminate all rumors of an unseemly affair. For this very reason, Brown is also resented by Sir Henry Ponsonby (Geoffrey Palmer), the queen’s private secretary, and her children, particularly Bertie (David Westhead), Prince of Wales.

Director John Madden handles his chores far more impressively than he did in his last assignments (“Ethan Frome,” “Golden Gate”), employing an unobtrusive style that serves the drama effectively and allows his gifted thesps to develop highly modulated characterizations.

Mostly working onstage and occasionally appearing in movies (recently as M in “Goldeneye”), Dench brings her commanding stature and superb elocution to the multi-nuanced role of a strong but vulnerable woman. As written and performed, Dench’s Victoria deviates from previous stage and screen portrayals that have shown the queen to be arrogant, rigid and unfeeling.

As a character, Brown lacks the overtly heroic dimensions of Rob Roy or the William Wallace of “Braveheart,” two mythic Scottish figures celebrated in recent American movies, but Connolly (better known as a comedian) acquits himself marvelously, stressing the irreverent willfulness of a servant who sacrificed his entire life in Her Majesty’s service, a man who faced a major personal dilemma when pressured to give Victoria back to the nation at the cost of his own heart.

Though there are a number of outdoor scenes and production values are handsome, ultimately it’s the narrow focus and chamber nature of the material that lends the movie its resonance and emotional power.

British --- Color

• Production: A Miramax release of an Ecosse Film production. Produced by Sarah Curtis. Executive producers, Douglas Rae, Andrea Calderwood. Executive producers, Nigel Warren-Green (Irish Screen), Rebecca Eaton (WGBH). Directed by John Madden. Screenplay, Jeremy Brock
• Crew: Camera (color), Richard Greatrex; editor, Robin Sales; music, Stephen Warbeck; production design, Martin Childs; art direction, Charlotte Watts; costume design, Deirdre Clancy; sound (Dolby), Alistair Crocker; associate producer, Paul Sarony; assistant director, Deborah Saban; casting, Michelle Guish. Reviewed at the Ticketmaster screening room, L.A., May 1, 1997. Running time: 103 min.
• With: Queen Victoria ..... Judi Dench John Brown ..... Billy Connolly Henry Ponsonby ..... Geoffrey Palmer Disraeli ..... Anthony Sher Archie Brown ..... Gerald Butler Doctor Jenner ..... Richard Pasco Prince of Wales ..... David Westhead

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By Anthony Lane

You never find out whether the lovers in this 1997 movie really are lovers; like most of the people in the film, you have to keep guessing. The tale begins with Queen Victoria (Judi Dench) in mourning for her husband, Albert. She is reassured, and then comforted, by John Brown (Billy Connolly), who had worked for Prince Albert. Over time, her private secretary (Geoffrey Palmer) and her Prime Minister, Disraeli (Antony Sher), become alarmed by the growing intimacy between monarch and manservant, and by the damage that it is inflicting on the royal reputation. The director, John Madden, could have set this up as a minor tragedy, but he has the wit, especially in the first half, to play it cool and droll, and he is helped no end by finely gauged performances. Dench is stern but not wholly invulnerable; Connolly offers a portrait of devotion so fierce that it verges on the mad; and Sher is a riot—he has the air of a man who finds the whole affair vastly entertaining. And he’s right. (Streaming on Amazon and Apple TV.)

Mrs. Brown Review

05 Sep 1997

103 minutes

It's becoming increasingly apparent that the stand-up microphone is a surprisingly useful tool with which to prise open a backdoor into the movies. A big screen Eddie Izzard was in The Avengers, while Lee Evans starred in The Fifth Element. And now Billy Connolly tackles a leading role as Queen Vic's horse-wrangling Highlander in a film that's a good deal more gutsy and compelling than you'd think.

Period cossies, historical story and earthy British production do not always make for scintillating entertainment. But this is a different matter altogether. It's more than two years since Prince Albert popped off, but Dench's starchy monarch is still in the depths of depression and unmoved by public obligations. In the desperate hope that a breath of fresh air may dispel her gloom and thereby quell republican ambition, John Brown (Connolly) is summoned from Balmoral with the Queen's nag.

What follows, however, is the last thing her staid Private Secretary (Palmer) had in mind, as the Scot develops a close and exclusive relationship with HRH, and clamours for Royal abolition are replaced by rumours of a scandalous affair. Which the film sees fit to neither confirm nor deny, and in striking this delicate balance, makes its impact.

Leading a host of strong, mature performances - other notables being Palmer and Anthony Sher's oily Disraeli - Connolly's brusque, straight-talking, stern loyalty and beardy compassion gradually wears down tangible walls of grief around Dench's incredibly convincing Victoria, and before you know it, you're caught up in a difficult but touching friendship, and enjoying a history lesson more than you ever thought possible.

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• When Queen Victoria's husband Prince Albert dies, she finds solace in her trusted servant, Mr. John Brown, but their relationship also brings scandal and turmoil.
• Queen Victoria (Dame Judi Dench) is deeply depressed after the death of her husband, disappearing from public. Her servant Mr. John Brown (Sir Billy Connolly), who adores her, through caress and admiration brings her back to life, but that relationship creates scandalous situation and is likely to lead to monarchy crisis.
• While on an extended stay at Balmoral Castle and still in mourning over the death of her beloved Prince Albert, Queen Victoria (Dame Judi Dench) meets Mr. John Brown (Sir Billy Connolly), a member of her household staff who thinks the time has come for her to start living a normal life. He soon gains the Queen's favor and friendship, and his authority and status in the household are soon on the rise. This creates concerns amongst the Queen's many advisers who see their own influence diminishing and the Queen's reputation being tarnished. As a result, they move to ensure Mr. Brown's future influence in the household is kept in check. — garykmcd

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• Duration: 104 mins

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• Director: John Madden
• Screenwriter: Jeremy Brock
• Billy Connolly
• Antony Sher
• Geoffrey Palmer
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Mrs Brown (1997)

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Movie critic Bob Mondello has a review of what he thinks might be the sleeper hit of the summer: a new film called "Mrs. Brown." It's about a little-known period in the life of Britain's Queen Victoria, and it features veteran stage performer Judi Dench and Scottish comedian Billy Connolly.

"Service Above Self"

What You Need To Know:

(B, L,V, A) Biblical worldview of a royal servant who valued service above self; 3 obscenities & 2 profanities; man pummeled by assailants; and, alcohol use

More Detail:

In 1838, at the age of 19, Victoria was crowned Queen of England, beginning a reign of 63 years, the longest of any British monarch. Less than two years later, she would marry her cousin Prince Albert, a union that would prove to be far more harmonious than the typical royal marriage. Because most of their nine children married into other royal houses of Europe, nearly all crowned heads of Europe in the 20th century were their descendants.

Alas, in 1861, Albert died of typhoid fever, and the Queen was devastated. Her inconsolable grief drove her to spend years of seclusion on the Isle of Wight, and on Balmoral Castle in Scotland. Those in her service were literally held hostage to her grief. A contemporary adage said: “If the Queen ain’t happy, ain’t nobody happy.” Meanwhile, in London, Parliament began to debate whether the monarchy should be dissolved.

Enter John Brown, a plain-spoken, Scot servant, who had been a favorite of Albert’s, who is now summoned in a desperate effort by the Queen’s family to penetrate her depression. Brown sizes up the situation quickly, and to the horror of Victoria’s entourage of sycophants, bluntly insists that she get some fresh air. Both Queen and Brown prove to be equally hard-headed, and, after repeatedly crossing verbal swords, Brown persuades her to ride horseback, with him serving as guard and guide.

This fascinating clash of personalities and the deep friendship which subsequently develops is the substance of MRS. BROWN, a first-rate production from the makers of MASTERPIECE THEATRE. This is indeed a masterpiece. The title, MRS. BROWN, is a reference to the contemporary slur which began to circulate among those who began to resent the growing influence of the Scotsman on his Queen. For Brown was as willing to confront other members of the Queen’s family and her servants when he thought they were not acting in her best interest, as he was to confront the Queen herself. His was not a genteel manner, and his almost fanatical insistence on tighter security for his monarch (which he personally oversaw) won him few friends among the royal household. However, neither their objections, nor rumors that the relationship between sovereign and servant was becoming physically intimate would quench the Queen’s favor.

With Oscar-caliber performances by Judi Dench as Victoria and Billy Connolly as Brown MRS. BROWN scrupulously avoids adding a sleaze to this story. In fact, while Brown’s weakness for alcohol is honestly portrayed, this film highlights a virtue which is rarely seen in contemporary movies: a devotion to duty and service which transcends personal interest and rank. Prime Minister Benjamin Disraeli (expertly played by Antony Sher) queries Brown carefully at one point and cannot believe that he does not bring personal ambition to his role as the Queen’s confidant. Even a marked reversal of status cannot diminish Brown’s faithfulness. At one point, he is allowed to take charge of the Queen’s servants, and he does so with such abandon that people thought his new responsibilities were going to his head. Years later after Victoria makes a resounding re-entry into public life, he is reduced to serving primarily as a royal guard dog. Yet his fidelity, even in this far less exalted role, is shown to be unflinching.

Unfortunately, in the thick of a summer of cinema bursting with the customary lineup of action adventure thrillers with space aliens, muscular super-heroes, crashes, and gunfire, MRS. BROWN is likely to be lost in the shuffle, relegated to specialty theaters in major cities. Those who cannot find this outstanding drama at their local multiplex should look for the video later this year. With uncommon intelligence, and value, MRS. BROWN richly requites the cost of a movie admission ticket. This is a fascinating history lesson for mature teenagers and adults, and a moving portrait of a man who truly honored service above self .

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• Cast & Crew
• 71   Metascore
• 1 hr 43 mins

Judi Dench received an Oscar nod for her stirring portrayal of the widowed Queen Victoria in this drama. The downtrodden queen's spirits are lifted when she meets a Scottish servant (Billy Connolly) who eventually breaks through her emotional barrier, forming a loving relationship that has the whole nation whispering of scandalous affairs. John Madden, Gerald Butler, Antony Sher, Richard Pasco.

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• 1998 - BAFTA Film Awards - Best Film - nominated
• 1998 - BAFTA Film Awards - Best Costume Design - winner
• 1998 - BAFTA Film Awards - Best Production Design - nominated
• 1998 - BAFTA Film Awards - Best Original Screenplay - nominated

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Queen Victoria

Billy Connolly

Geoffrey Palmer

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The Mrs Brown’s Boys mystery: How a show even BBC execs don’t love became so popular

The smile was wiped off the face of BBC head of comedy Jon Petrie this week when he was asked if he was a fan of the broadcaster’s most beloved sitcom, Mrs Brown’s Boys . Rather than respond, Petrie opted to sit in silence during a BBC comedy showcase in London.

“I’ll take that as a ‘no’, then,” said the journalist who had posed the question. Petrie ventured a giggle – but did not elaborate. He was on stage with Michelle de Swarte, a comedian and actress who is starring in a forthcoming comedy for BBC Three and who recommended he avoid answering, saying, “this is a trap”.

That the head of BBC comedy should be ambivalent about Mrs Brown’s Boys speaks to the Marmite-like nature of the series, in which Brendan O’Carroll plays a sweary “mammy” from the Dublin suburb of Finglas.

Savaged by critics while delivering blockbusting ratings, Mrs Brown’s Boys is, in its way, one of the most divisive shows the BBC has ever put on air. “Consistently dire” , said the Telegraph in a 2023 review – but tell that to the millions who faithfully tune in each week (a new season is due later in 2024).

Granted, its popularity has been on the slide recently – with ratings down from a peak of 11 million to seven million for the 2023 Christmas special. But that’s still more than twice the number who’ve been watching the new Doctor Who.

Mrs Brown has also acquired some influential fans, including American comedian Tyler Perry , who – in a Batman vs. Superman style crossover – cast O’Carroll, as Brown, in his potty-mouthed Netflix hit, A Madea Homecoming in 2022.  The film confirmed Perry and O’Carroll as comedy twins separated at birth with both comics having huge success dressing up as stereotypical mother figures (the African-American Madea in Perry’s case). “I looked at Brendan’s history, and our lives were on parallel tracks in different parts of the world, with him doing live plays and then going into television too,” Perry said. “So, I thought these two worlds colliding would be amazing.”

Comedy chief Petrie had appeared to contradict himself during the Q&A, having already cited Mrs Browns’ Boys as “huge” for the BBC. “People want jokes, they want shows that make them laugh, and the ones that they are re-watching again and again are Ghosts, Motherland, Not Going Out and Mrs. Brown’s Boys. They still get huge numbers for us.’

He reiterated the broadcaster’s commitment to Brendan O’Carroll’s comic creation in a follow-up statement. “Brendan has created an iconic comedy character in Agnes Brown. Mrs Brown’s Boys is a Bafta-winning comedy show and one of the BBC’s most-watched comedies ever. It’s made me laugh many times and seeing Mrs Brown’s Boys live is an unforgettable experience – I feel very lucky that I’ve had the chance to witness it and I’m proud to have it in the BBC Comedy stable”.

It’s 13 years since Mr Brown’s Boys debuted on BBC One and immediately established itself as one of Britain’s favourite chortle-fests. It has reigned supreme ever since. The 2018 Christmas special was the second most-watched festive programme, its audience of nine million placing it ahead of juggernauts such as the Christmas Strictly Come Dancing and the Great Christmas Bake Off.

Back in Ireland, the steamroller popularity of O’Carroll and Mrs Brown in the much larger and more competitive UK market is a source of ongoing befuddlement. Irish television, it is true, has been historically awful. There is no tradition of quality drama or comedy for new generations to draw. Even the “best” shows tend to be qualified failures (one of the reasons Father Ted ended up on Channel 4 rather than Irish national broadcaster RTÉ).

That being the case, Mrs Brown’s Boys was nevertheless regarded as something of a guilty secret back home. O’Carroll had first became famous as a guest on Gay Byrne’s Late Late Show in the early Nineties. He would crack up the usually implacable host with his stories about getting up to no good as a rascal in Dublin’s socially disadvantaged Finglas.

O’Carroll thereafter picked up some work at RTÉ hosting lame quiz shows. It was a thankless route also taken by pre-Father Ted Dermot Morgan and a puppy-faced Dara Ó Briain, for many years team captain on a pulseless Have I Got News For You? knock-off called Don’t Feed The Gondolas (even less funny than its title).

Mrs Brown’s Boys was an empire O’Carroll built entirely on his own. He debuted Agnes Browne (the “e” was later dropped) on a one-off radio play on RTÉ Radio 2 in 1992. Four books – The Mammy, The Chisellers, The Granny, and The Young Wan – followed, the first adapted by Hibernophile Anjelica Huston into Agnes Brown. If you can bear to watch, hang on for the cameo by Tom Jones.

With his love for nudges, winks and toilet gags, O’Carroll was quickly deemed beyond the bounds of polite taste in Ireland. It was unthinkable he be given his own TV show. Consequently, the seven Mrs Brown DVDs he released were self-financed and self-directed. That brought a degree of financial precariousness. More importantly, it gave complete creative control.

Thus, by the time the Mrs Brown stage show became a phenomenon O’Carroll was utterly in command of his creation (it helped that his crew was staffed with friends and family members). Say what you like about the quality of the humour – but O’Carroll never compromised his vision and wasn’t obliged to ingratiate himself with the powers that be.

He had also been knocked about quite a bit by life. Though his mother was a Labour party politician, he grew up in stereotypically hard-knock circumstances in Finglas. He’d worked as waiter and milkman and even ran a pub before his partner in the business skipped the country. When the abscondee subsequently died a baffled O’Carroll was briefly questioned by police.

But the biggest setback was when, on the back of his Late Late Show fame, he produced a boxing movie called Sparrow’s Trap, to star Stephen Rea. Financing collapsed before production was completed and, with the film having accumulated debts of £1 million, O’Carroll was forced to declare bankruptcy. Every breakthrough he has since had – he is now said to be worth in excess of £10 million – must be seen in the context of that disaster.

The secret of Mrs Brown’s Boys appeal is a question that has stumped many. But there is no reason to tie oneself up in loops. The plain truth is that elbow-nudging and quips about bodily functions – O’Carroll’s stock in trade – can be relied upon to raise guffaws. A chaotic filming style, in which the live audience is encouraged to laugh at the flubs and misfires, merely adds to the hilarity.

Watching a preview of last year’s Christmas special I, for instance, found myself rolling my eyes but also – and feel free to judge – stifling the very occasional chuckle. Is it funny to confuse “mahogany” for “monogamy”? Probably not – but in a moment of weakness I threw my head back and groaned. A bad joke can be as effective as a good one, as O’Carroll has discovered with lucrative results.

It should be noted, too, that O’Carroll isn’t so much an Irish comedian as a Dublin one. The city has been historically more anglicised than any other part of the Republic – as anyone who has stepped into a pub in Blanchardstown or Kimmage to be greeted by a wall of Liverpool and Manchester United replica shirts will testify.

So it doesn’t take a huge leap to see how O’Carroll’s kitchen sink, fnar-fnar humour might chime in British regional cities (as Dublin essentially was until the early 20th century).  Mrs Brown’s Boys certainly has none of the relative exoticism of Father Ted or BBC3’s Young Offenders.

Indeed it is surely no coincidence that O’Carroll’s big break in the UK was in Glasgow, where his Mrs Brown stage show had its first success outside Ireland (and where the TV show is presently filmed). It was there that he was approached in 2009 by a BBC producer who thought Mrs Brown’s Boys might translate to television (RTÉ, having ignored him for years, later came on as co-producers). British comedy, it is fair to say, hasn’t recovered since.

Imagine if Jim Davidson or Del Boy-vintage David Jason were flown to New York and unveiled as the new host of the CBS Late Show following the departure of Stephen Colbert. That’s how the unstoppable rise in the UK of Mrs Brown appears in Ireland – flabbergasting and completely unnerving.

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Like Shakespeare’s Sonnets, ‘Practice’ Finds Beauty in Digression

Starring an undergraduate student at Oxford, Rosalind Brown’s debut novel is exquisitely attuned to the thrill and boredom of academic life.

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By Brian Dillon

Brian Dillon is the author, most recently, of “Affinities: On Art and Fascination.” He is working on “Ambivalence,” a memoir about aesthetic education.

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PRACTICE , by Rosalind Brown

A novel that is mostly about the deskbound drama of study: The heart quickens, no? Not for all readers, I suppose. In search of larger stakes, novels of student life have generally scanted the slow labor of scholarship as such, or the reckless midnight dash to the term-paper deadline.

Instead, as in Evelyn Waugh’s “Brideshead Revisited,” university may involve champagne, plovers’ eggs and the “low door in the wall” to gilded love and disappointment. Or more sober lessons about sex and capital — as in the novels of Sally Rooney. “We read in order to come to life,” says the narrator of Claire-Louise Bennett’s “ Checkout 19 .” It is hard to think, however, of a novel that describes as precisely as Rosalind Brown’s “Practice” does what happens when an ardent young person sits down to read and learn and write.

It is January 2009 and Annabel, an undergraduate at Oxford, is preparing to write an essay about Shakespeare’s sonnets that’s due tomorrow. “Essay” here means, Oxbridge-style, a short piece on a theme of the student’s choosing, to be presented at a weekly tutorial. Annabel wakes early on a Sunday in her dorm room; admires a pre-dawn darkness that seems to her “like the beginning, or maybe the end, of a novel”; huddles against the cold she hopes will keep her focused and addresses herself to what William Wordsworth called “the Sonnet’s scanty plot of ground.” (The phrase supplies Brown with an epigraph.)

Annabel’s intention is to become all heart and mind, but the irritant body insists on intervening. She drags herself to the bathroom, makes breakfast, frets about the effect of coffee on her metabolism, thinks about the older man she’s seeing and wonders whether to masturbate. All the while, the sonnets “gaze whitely back at her.”

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