I've taken a bit of a breather from Edward and Mrs. Simpson to catch Edward the King (a/k/a Edward VII), the 1975 dramatization of Philip Magnus's biography of Victoria's son and heir. What's surprising about it is the extent to which Victoria and Albert (Annette Crosbie and Robert Hardy) dominate much of the series.
As the delightfully named blogger Woostersauce 2014 put it:
Crosbie and Hardy as Victoria and Albert (especially Crosbie as Victoria) were the first to portray the monarch and her consort as human with their strengths and flaws as individuals, as well as portraying their marriage being warm and loving despite being punctuated by rows and disagreements. It is possible that audiences in 1975, many of them who were born when Victoria was still on the throne and grew up with the image of her as a black clad widow perpetually not amused, would have been shocked at seeing the monarch being portrayed as a very human woman expressing the same joys, sadness, happiness and fustrations as they did. The same is also true with Bertie; Timothy West in particular portrayed him as a sympathetic and human prince determined to do his duty despite his parents having written him off as a lost causeAlbert, in particular, is given a complexity he might otherwise have lacked by the quicksilver performance of Robert Hardy (most noted for his Siegfried Farnon in All Creatures Great and Small and more recently his performance as Cornelius Fudge in the Harry Potter movies). As the Prince Consort, Albert starts in a position of weakness (not unlike Matt Smith as Prince Philip in The Crown), but he obtains a modicum of power by using what would be in Victorian literature feminine strategies--he lets Victoria see that her tantrums have hurt him, he rejoices in the domestic, he even withholds intimacy (Victoria, the morning after a tantrum, plaintively reproaches him, "you didn't come to me last night.").
When their son Albert Edward (Bertie) is born, Albert plans a fanatically demanding, no respite, education for their son. It's portrayed as almost sadistic (Magnus's biography is more charitable) and the frustrated Bertie fails at it repeatedly. Albert keeps him to it, with terrible persistence. But Hardy keeps him from devolving into a Gradgrind. His affection for Victoria (and forgiveness of her outbursts), his enjoyment of their children, gives him a likability that makes clear that his mistreatment of Bertie is not out of cruelty, but misplaced zeal.
Later, when Bertie is an adult, and Bertie has been caught in an affair with an actress (the first of many), the notoriously strait-laced Albert confronts his son. Albert respects Bertie's refusal to tell him who set up the party where he met his mistress, and puts the matter behind them. Instead of the martinet, we finally see the worried father, who gently admits that he has been so intent on training his son, that he has not provided the affection that Bertie needs. He anxiously seeks to reassure Bertie that he has been motivated by love, but admits his failure to articulate it. The two reconcile, with the focus not on Bertie's sins, but on Albert's.
It's an extraordinary performance, well matched by Crosbie's more overtly histrionic masterpiece. Hardy deftly underplays when she goes hard, but scintillates when he is with the children (other than Bertie). They match each other well.