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The Madness of King George 1994

In 1788, England's King George III's grip on reality begins to slip, sparking a whirlwind of confusion and outbursts that leave his doctors baffled. As the monarch's madness intensifies, Queen Charlotte and Prime Minister William Pitt the Younger must navigate treacherous palace politics to prevent the king's enemies from seizing power, all while the fate of the kingdom hangs precariously in the balance.

In 1788, England's King George III's grip on reality begins to slip, sparking a whirlwind of confusion and outbursts that leave his doctors baffled. As the monarch's madness intensifies, Queen Charlotte and Prime Minister William Pitt the Younger must navigate treacherous palace politics to prevent the king's enemies from seizing power, all while the fate of the kingdom hangs precariously in the balance.

Does The Madness of King George have end credit scenes?

No!

The Madness of King George does not have end credit scenes. You can leave when the credits roll.

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Ratings and Reviews for The Madness of King George

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Metacritic

89

Metascore

7.8

User Score

Rotten Tomatoes
review

%

TOMATOMETER

review

0%

User Score

TMDB

67

%

User Score

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What triggered the crisis in King George III's reign?

Awards & Nominations for The Madness of King George

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49th British Academy Film Awards 1996

Nomination

Best Film

Nomination

Best Direction

Nicholas Hytner
Nigel Hawthorne
Win

Best Actor in a Leading Role

Nigel Hawthorne
Helen Mirren
Nomination

Best Actress in a Leading Role

Helen Mirren
Ian Holm
Nomination

Best Actor in a Supporting Role

Ian Holm
Nomination

Best Adapted Screenplay

Nomination

Best Cinematography

Nomination

Best Original Music

Nomination

Best Production Design

Nomination

Best Sound

Win

Outstanding British Film

67th Academy Awards 1995

Nigel Hawthorne
Nomination

Actor in a Leading Role

Nigel Hawthorne
Helen Mirren
Nomination

Actress in a Supporting Role

Helen Mirren
Win

Art Direction

Nomination

Writing (Screenplay Based on Material Previously Produced or Published)

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King George III’s struggle with madness in 1788 ignites the Regency Crisis, setting off a fierce battle for power within the British Parliament. On one side is Tory Prime Minister William Pitt the Younger, while on the other is the reform-minded Charles James Fox. Initially, the King’s peculiarities seem harmless—his dedication to the welfare of Great Britain is evident, as is his extensive knowledge about even the most obscure royal appointments. His love for his wife, Queen Charlotte, and their 15 children is unwavering. However, as the weight of America’s loss presses down on him, George III begins to exhibit troubling symptoms: forgetfulness, erratic behavior, and a condition that turns his urine blue.

Meanwhile, the ambitious George, Prince of Wales, senses the opportunity to step into greater power if his father becomes incapacitated. Resentful of his father’s continual reproach and eager for autonomy, he secretly marries Mrs. Fitzherbert in 1785, a union that is illegal without royal assent. As he aligns himself with Fox, whose progressive agenda includes the abolition of the slave trade, he seeks to provoke his father by arranging a concert featuring Handel’s music. This move leads to anticipated chaos when the King during the performance begins to act out, engaging in indecent chatter with Lady Pembroke and ultimately attacking his son.

In a poignant private discussion with Charlotte, King George confesses his awareness of his deteriorating state. However, they are soon pulled apart on the advice of his physician. Under the guidance of Dr. Warren, the King undergoes archaic treatments that focus obsessively on his bodily functions, involving painful methods such as cupping and laxatives.

Seeking a more compassionate approach, Lady Pembroke recommends Dr. Francis Willis, known for successfully treating her mother-in-law. Willis employs unconventional therapies at his rural estate in Lincolnshire, which emphasize the patient’s self-perception. As he tells an attendant, “To be curbed, thwarted, stood up to, exercises the character.” When the King lashes out in anger, Willis resorts to physical restraint, indicating that the King will be held fast whenever he engages in inappropriate speech or behavior.

A pivotal moment arrives when the Prince decides to have the King moved to Kew, prompting an emotional scene where Charlotte watches her beloved struggle against his restraints. “Until you can govern yourself, you’re not fit to govern others. And until you do so, I shall govern you,” Willis asserts. Despite initial resistance, the King slowly begins to improve, ultimately managing to feed himself during a moment of accomplishment, though his delusions persist.

As the Whig opposition skillfully challenges Pitt’s increasingly unpopular government, they propose that the Prince be granted regency powers. Baron Thurlow, the Lord Chancellor, attempts to suppress knowledge of the secret marriage, but as Fox succeeds, the Regency Bill emerges. A touching scene unfolds as Thurlow reads from King Lear to the King, prompting George III to reflect, “I have remembered how to seem…”—a phrase he hasn’t used in months, signaling a hopeful return to clarity, as indicated by the restoration of his urine color to yellow.

Arriving at Parliament just in time, the King confronts his son, forcing him to confess his marriage and to set aside Fitzherbert. With the crisis seemingly averted, those who have watched the King’s turmoil are dismissed, as remarked by Fitzroy, “To be kind does not commend you to kings.”

The royal family receives a jubilant welcome at St. Paul’s Cathedral. Although Willis observes their return, the King chooses to expel him from his life. “We must be a model family,” he affirms, expressing a desire for connection with the public: “Smile at the people, wave at them. Let them see that we’re happy. That’s why we’re here.” Amidst the cheering crowd, Willis and Mrs. Fitzherbert exchange bittersweet glances as the King embraces his newfound stability.

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The Madness of King George // TRAILER // (Presented on 35mm in August)

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