The film “Red, White & Royal Blue” centers around the romantic relationship between an American president’s son and a British prince. The movie starts with an enthusiastic premise and effectively realizes its daring concept.
Similar to a corgi joyfully flipping over a bathtub filled with champagne, “Red, White & Royal Blue” commences with an invigorating idea and boldly achieves its objectives. The plot follows Alex (Taylor Zakhar Perez), a spirited member of the White House family, who is assigned the task of resolving an international PR crisis by befriending Prince Henry (Nicholas Galitzine), a reserved British royal. The first part of the film showcases the secret love blossoming between the two heirs, while the second part focuses on their apprehensions about making their relationship public, especially as Alex’s mother (Uma Thurman, with a Southern accent) is campaigning for re-election.
The film might evoke thoughts of fan fiction and visually echoes this notion, particularly when Galitzine bashfully tilts his chin—an idiosyncrasy inherited from Princess Diana and passed down to her sons. However, as is typical of any successful trans-Atlantic romantic comedy, first-time director Matthew López skillfully garners our support for the transformation of the spirited pair from adversaries to affectionate partners. Cinematographer Stephen Goldblatt contributes to this allure by capturing the leads with such fondness that one might almost anticipate them turning towards the camera to endorse a bottle of cologne. Thanks to their lively chemistry, the audience becomes thoroughly engaged.
The movie is a condensed adaptation of Casey McQuiston’s vibrant 2019 novel, a sensation on TikTok with over 500 million views under its hashtag. López, primarily recognized as the Tony-winning playwright of “The Inheritance,” collaborated with Ted Malawer to craft the screenplay, which at times includes theatrical elements that lean towards being overly extravagant. These include a late-night phone conversation depicted with Galitzine appearing amidst a swirl of digital leaves, an oddly executed voice-over during a museum stroll that raises queries about its purpose, and a somewhat comical stare-down across the dance floor, where Alex and Henry exchange gazes while revelers groove to Lil Jon’s music, appearing as if they are playing a rendition of “Duck, Duck, Goose.”
Nonetheless, the essence of the story effectively centers on the cultural divide between the two leads. Alex describes it as the moment “He grabbed my hair in a way that made me understand the difference between rugby and football.” Henry, born into royal duties, carries his privilege with casual ease yet yearns for anonymity. Conversely, the American Alex embodies the audacity and idealism frequently associated with his nationality. He reminisces about his past as an unnoticed suburban child and his determination to achieve aspirations that were beyond the reach of his immigrant father (Clifton Collins Jr.). (Perez is also well aware that his chiseled cheekbones and charismatic swagger evoke a young Al Pacino.) Their pivotal intimate scene is sensitively staged, with Galitzine’s character tracing Perez’s contours with his fingertips, as if he wishes to etch the moment into memory.
The sequences set in Washington, D.C. present a revitalized interpretation of the banter familiar from television shows. Noteworthy performances include Sarah Shahi as the president’s pragmatic aide and Aneesh Sheth as a stern Secret Service officer. Despite the credits acknowledging a royal etiquette advisor, it’s difficult to ascertain whether the portrayal of the monarchy is an accurate representation (featuring paisley loungewear, miniature topiaries, and ornate frames) or a fanciful fantasy that permits a prince to playfully comment, “I attended an English boarding school. Trust me, you’re in good hands.”
IMDB rating of the movie is 7.3/10
Hollywood Xtreme gives 8/10
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