A
Tudor Potluck
by
Kristin Battestella
These
miniseries, movies, and documentaries both modern and classic shine
the light on Good Queen Bess and company – juicy details, scandals,
beheadings, and all.
Elizabeth I –
Helen Mirren (The Tempest),
Jeremy Irons (High Rise),
Toby Jones (Berberian Sound Studio),
and Hugh Dancy (Hannibal)
star in this acclaimed 2005 two-part HBO co-production. It's 1579 and
the unmarried Bess is still without an heir despite the vulnerability
of succession, religious strife, and courtiers disliking the overly
familiar Earl of Leicester. A symbolic dressing down removes the
bejeweled gowns and gilded facade in favor of stays and medical exams
saying she's still capable of bearing children – because marriage
is for heirs only according to her chancellors. Affectionate bedside
chats let the viewer in with the woman behind the throne as she
remains outwardly bemused and unfettered by the marital talk but
inwardly bored with her council questioning when she is allowed to
think or feel anything for herself. Chamberlains are aware of the
coming and goings between the bedroom back stairs, and the men look
the right mature with swords, capes, and plumes. Despite
assassination attempts, dungeons, the rack, and slightly small sets;
the golds, rich reds, detailed woodwork, candles, lovely window
light, and bright courtyards create an intimate warmth. The camera
flows with the movements from room to room – crossing the fine line
between private woman and public chambers. Jealous Bess can't marry
the earl she wants, courtiers go behind her back, and there are few
people to trust amid awkward French courtships, boat rides, and
disguises. Of course certain elements are familiar to the well versed
Tudor audience, yet the made under Mirren shines with Elizabeth's
impressive personality, dancing charm, and lovable infectiousness.
It's ironic, however, that everyone says she is so beautiful in
obvious flattery, and The Queen is rightfully annoyed when one and
all push against her happiness – doubling her heartbreak after
falling through proposals. Leicester thinks too highly of his
position, yet she will not suffer fools no matter how disappointed.
Elizabeth chops off the hand of a writer for his protesting pamphlet,
and her chancellors prefer that made of stone rule who does what they
tell her, caring not whether she wants a child or to be loved.
Surprise meetings with Mary of Scots provide great woman to woman
conversation, for only these two ladies can completely understand
such an impasse before Dutch aide, conspiracy letters, and
executions. After all, women can't be the gentle sex because they
know more cruelty. Brutal flayings, quartering alive, and Latin
prayers create intensity, however this drama relies less on the
lavishness of other melodramatic productions and more on the politics
of words and intrigue in the interplay. The first hour alone is
dense, award worthy television taking the crown deeper with humility,
personal frank, and religious war often spoken in same breath.
There's a delicate balance between letting privy men influence her
and showing them who's anointed queen. Bess honors the army for their
love and sacrifice rather than courage as a king would, but she rises
to the armada occasion with famous speeches as the off camera battle
sharpens the personal poignant. By 1589, Elizabeth has a slightly
pathetic crush on the Earl of Essex, and her elder pure white make up
contrasts the womanly undressing that started Part 1. Mirrors are
banished and jousts are more about courtiers and spectators
whispering on who's in The Queen's favor. Bess watches the men spar,
dresses a leg wound, and has some symbolic ankle saucy – she knows
its foolish to be desired when she can't show her love. The Queen
won't stay in the bedroom but goes to her council where she can
whip the men into shape with her leadership. She's not afraid to lash
out and show her anger but does threaten the witnesses to her outrage
with death. Can one enjoy her royal company or is it all using each
other for more influence? Rumors of poison, finger pointing
accusations, and false evidence help the not so suave Essex move
above his station. New love triangles, deaths, and secret meetings
with James VI accelerate Irish discord, divided opinions, and would
be rebellions – but it's nothing an arrest or graphic beheading
can't fix. While this series doesn't feature all her favorites or
serve as a total later reign biography, the focus on such two related
loves shows how Bess may have bent from time to time but never
totally yields. The Queen goes from romantic tears to Royal We,
placing public devotion over self with surreal color and camerawork
combining for a graceful denouement.
Henry VII: The Winter King – Author Thomas Penn hosts this 2013
documentary hour chronicling the somewhat obscure – compared to the
Richard III infamy before and head rolling Henry VIII after – but
no less ruthless, paranoid, dark, and oppressive reign of Henry VII.
From the 1485 Millford Haven landing to gaining support for an
unlikely victory at Bosworth Field, onscreen text dates and places
the previous Wars of the Roses with the Earl of Richmond's precarious
claim to the throne through illegitimate Beauforts and a strategic
marriage to Elizabeth of York. On location Bosworth prayers,
Westminster Abbey art, Hampton Court comparisons, and Parliament
archives detail the coronation and dynastic struggles through
medieval scrolls, period paintings, music texts, and genealogical
rolls. Henry feared he'd loose the crown the way he got it, but
shrewd legislation and assuring his lineage help quell any rebellions
and eliminate rivals to the throne. Visits to the Medieval Coin
Collection at the British Museum present vintage gold pieces stamped
with the Tudor rose – despite extensive architecture projects and
increasing wealth, Henry used spies to root out corrupt chamberlains
and previous allies bankrolling York revivals. The king himself was
vigilant with his own financial books and privy accounts, and
surviving documents reveal standard payments for falcons from Hungary
as well as rewards from some undercover espionage. By the turn of the
century, there was little resistance to his tight, underhanded grip
thanks to new engagements with Spain, however fatal family illnesses
and Elizabeth's death in childbirth cause the distrustful Henry to
retreat before cracking down with more building splendor, ruling with
fear rather than love thanks to extortion fines and financial ruin
making it too costly for anyone to usurp him. Henry's controversial
Council Learned in the Law covertly circumvents any legalese with
prison sentences, rigged juries, and intimated judges, but threats
from Suffolk and dangerous jousts take a toll on his health. Period
depictions show Henry VII's deathbed transition – which was kept
secret for two days while courtiers
cleaned up the regime's loose ends with trumped up executions of
unlikable chancellors, allowing young seventeen year old Henry VIII
to issue kinder reform. Henry VII's reign was a rocky but necessary
road assuring a new English dynasty; his architectural achievements
still stand, and this tour fittingly concludes at his grand mausoleum
silently beside his tomb. Although the booming music and night
time scenery plays at something sinister, the moody here remains
scholarly before flashy, keeping this friendly for the classroom or
the more learned Tudor audience.
A
Stuart Bonus!
Mary Queen of Scots: The Red Queen
– Scottish castles, ruinous abbeys, and highland scenery anchor
this 2014 documentary on that other devout catholic Mary thorn in
protestant Elizabeth's side. The narration admits the similar names
are confusing, but the voiceover meanders with unnecessary time on
Mary's parents James V and his french wife Mary of Guise amid Henry
VIII marital turmoil, perilous successions, and religious switches.
Opera arias interfere further as we stray into Mary Mary quite
contrary rhymes, earlier Robert the Bruce connections, Tudor
rivalries, French alliances, and the possible poisoning of infant
Stuart sons before finally
getting to Mary being crowned at nine months old in defiance of male
inheritance laws. Rough Wooing tensions and early betrothal plans
with Edward VI lead to isolation at Stirling Castle before a pleasant
childhood at the French court, but a princess education and marriage
to the Dauphin in 1558 ultimately send the young widow back to
Scotland as regent in 1561. Catholic unrest always leaves Mary on
unfriendly terms with Bess alongside John Knox reformations at home,
misogynist rhetoric, and a nasty marriage to her first cousin Henry
Stuart. The need for an heir, murdered lovers, adulterous
pregnancies, revenge – loyal nobles take sides as the Catholic
baptism of the future James VI divides public opinion. Men with
syphilis, suspicious gunpowder accidents, marital traps, and final
meetings with her year old son begat possible kidnappings, a new
marriage to the Earl of Bothwell, revolts, imprisonment at Loch
Leven, abdication, and rumors of stillborn twins with unknown
fathers. It might have been interesting to see scholars contrasting
bad girl Mary with her marriages and male interference versus
Elizabeth The Virgin Queen rather than the all over the place
narrative. Bess holds Mary captive in various English castles for
eighteen years until religious coups, forged letters, an absentee
trial, and the final treasonous Babington Plot. Mary goes out in
style with symbolic red despite her botched beheading, with an ironic
final resting place at Westminster Abbey beside Mary Tudor and
Elizabeth I. This rambling hour confuses itself and repeats anecdotes
in what should have been a tighter, more informative focus. However,
such superficial storyteller basics can actually be a good classroom
compliment with additional materials.
But
A Surprising Skip
Young Bess – Charles Laughton (reprising his role from The Private life of Henry VIII), Deborah Kerr (From Here to Eternity), and Stewart Granger (Caesar and Cleopatra) join
the eponymous Jean Simmons (Guys and Dolls)
for this romanticized 1953 tale featuring pomp scoring,
medieval title cards, fine castle interiors, Tudor hoods, colorful
frocks, royal feasts, and bitter beheadings. Unfortunately, annoying,
over the top support recounts the already familiar Anne Boleyn exit
and repeated new wife introductions in an out of place Mother Goose
style narration. The bemusing, petulant little girl whimsy is at odds
with the serious chopping block drama, and the defiant teen Bess
rolls over once Thomas Seymour sweeps in to subdue her. Now, not only
was the older Granger married to the supple Simmons, but he also had
an affair with Kerr – who plays his wife onscreen. History would
also describe Thomas Seymour's relationship with the young Elizabeth
as not exactly healthy to say the least, and it's uncomfortably odd
to see such a great, shrewd queen reduced to a stubborn, moon-eyed
princess. Can you imagine the uproar today if a historic abusive
relationship was depicted as a romance orchestrated by the victim?
o_O Bess makes her stepfather jealous of her Danish marriage
proposals by kissing Barnaby the whipping boy before getting slapped
by her Admiral Uncle Dad Tom, which she loves! Soft glow cameras on
the ladies are likewise so fuzzy that the picture looks blurry to HD
accustomed eyes. The sets are small, outdoor scenes and matte shots
are obvious fakery, brief naval scenes and hokey armor are almost
humorous, and the villainous Lord Protector is apparent thanks to his
greasy mustache. Henry's larger than life whims and death bed sincere
make up for the slow start and the bright, colorful dance scene is
the best part of the film – yet for something supposedly about
Bess, the focus strays with arguing councilors and ambitious
relations. An entire segment is narrated by the typically mid century
little brother King Edward, transitioning from his intended as
humorous wish that his uncle would “D-Y-E” to inquests and solemn
betrayals. Meandering character motivations add to the inaccuracies,
the behind the scenes relationships muddle with what's onscreen, and
the of its time artistic license feels embarrassing to the well
versed Tudor viewer. Simmons gives a lovely performance, and
audiences who love classic melodrama can enjoy this. However, it's
tough to suspense belief with this kind of blind fiction.
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