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Hollywood, despite being founded in country proud of its republicanism and anti-aristocratic roots, always had something of a soft spot for British monarchy. That phenomenon is usually explained with the need to provide the public with mix of tradition, spectacle and mystique Hollywood could not find elsewhere. It could have been observed even in 1990s, when Hollywood films treated every other aspect of Britain in a way that could be described as Anglophobia. One example can be found in *King Ralph*, 1991 comedy written and directed by David S. Ward.


Film is based on *Headlong*, alternative history novel by Welsh actor and writer Emlyn Williams, and set in 1930s. Ward’s script, however, sets the plot in present day and begins with freak accident that electrocutes entire British Royal Family. Team of genealogists, led by former royal secretary Sir Cedric Willingham (played by Peter O’Toole) is given difficult task of finding person with most credible claim to the throne. Their search leads to Las Vegas where lounge singer Ralph Jones (played by John Goodman) has just been fired from his job in night club. He is soon afterwards informed that, due to grandmother’s liaison with a Duke of Warren, he is about to become new king. At first sceptical, Ralph accepts invitation to come to Buckingham Palace and gradually prepare for his new role. His lack of education and finesse is much at odds with the staff and political establishment, although he manages to win some hearts and minds with his directness and musical talent. He also wins the heart of Mirana Greene (played by Camille Coduri), stripper whom he met during trip to Soho. But that very liaison becomes part of the scheme by ambitious Lord Graves (played by John Hurt), ambitious aristocrat who wants to create scandal that would force Ralph to abdicate and allow him to take throne for himself. 


Unlike Williams’ original novel, which was quite serious in tone and dealt with issues of social class in context of Great Depression and rising fascism, Ward has turned the film into rather broad comedy. It is almost entirely based on “high concept” which works mostly in the beginning, when the protagonist finds itself into “fish out of water” situation and most of jokes deal with cultural differences between British and Americans. *King Ralph* in many ways stands on the shoulders of main actor. John Goodman took this as a rare opportunity for a leading role and obviously enjoyed his part. His performance makes his character likeable and scenes in which he appears mostly fun. The film is worse in the second part, when quality of jokes decreases and time is filled with cliched subplots, including obligatory romance that can’t be rescued even with talents of Camilla Coduri and intrigue featuring cliched villain played by overacting John Hurt. Peter O’Toole brings some sort of dignity and gravitas to the film, but he appears too late to improve impression. Some of the details in the film – like most youth on the street having punk hairstyles – makes it look dated, while some, like Finland being described as monarchy, brings it into realm of alternate history. The film ends with cheap polot twist, which is, however, taken from original novel. Goodman’s performance makes *King Ralph* mildly entertaining, but this film would be best enjoyed by viewers who are his fans; the others would do themselves service if they chose something else.







RATING: 4/10 (+)



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