The recent TV production, VICTORIA, enchanted viewers in the first three episodes thanks to the girlish, if skittish character of Jenna Coleman’s princess. The appearance of the awkward and distant Albert added drama, if not as much attraction, as riveting Rufus Sewell, Lord Melbourne.
I discovered that the ridiculous hair style of Albert was no TV concoction when I visited the Chateau de Compiégne, Picardy. There the wonderful portraits of Franz Xavier Winterhalter (known for his true-to-life painting) formed a special exhibition.
Winterhalter became one of the royal pair’s favourite painters. It seems that Victoria praised his truthful representations, so we must accept that her own portrait is as she was, with bulging pale blue eyes, plump arms and stocky little body even in her youth. Whereas Tom Hughes is near to a spitting image of Albert, Jenna Coleman’s Victoria is very much beautified.
It may be that the scriptwriters came closer to the couples’ personalities. After all, clashes between two strong spirits is the stuff of drama. If one were portrayed as wholly sweet and cooperative, the series would fall a long way short. In my own case, I preferred the image I had concocted from history books to Tom Hughes, but sadly his lisping portrayal of the penniless prince was probably near the truth.
Have you written a character close to truth of someone you’ve actually known, while another you’ve deliberately beautified? Readers are left unsatisfied when excuses are made for the protagonist with unblemished features and unstained character, whereas the antagonist’s redeeming elements are ignored. Such black/white characters are termed ‘cardboard’. It’s surely the shades of grey that grip a reader, so don’t beautify your characters.