Karim Aïnouz’s English-language feature based on Elizabeth Fremantle’s 2013 novel Queen’s Gambit is a chilling portrayal of Henry VIII’s increasingly tense relationship with his sixth and final wife Katherine Parr.
The fascination with the Tudor reign (specifically King Henry VII’s reign) never seems to dampen and with Karim Aïnouz’s intensely compelling film surrounding the relationship between the erratic king and his wife Katherine Parr this is certainly sure to help continue this trend.
Focusing on the period towards the end of Henry VII’s life, the film based on Elizabeth Fremantle’s novel titled ‘Queen’s Gambit’, Firebrand focuses on how their relationship changed on the basis of his increasingly suspicious nature and her attempts to push forward religious reform, leading to a horrendous cat and mouse game – and eventually a battle for survival.
The true story of events that occurred should be compelling enough in itself to make for fascinating viewing, but the sense of melodrama that happens in several scenes (there is no evidence that Henry VIII sexually assaulted Katherine in any shape or form – let alone the incredible ending that is suggested here) that distracts from the political intrigue and true nature of the pair’s relationship.
Written by screenwriters Jessica and Henrietta Ashworth, the story is suitably intriguing in many ways – particularly when it hones in on the individual characters of Henry and Katherine and the way in which they interact with each other and handle those around them. There are many dark aspects to it – such as what happens to Anne Askew a preacher who was arrested for her views and the level of suspicion and danger that existed at this time. But there are also flashes of warmth and tenderness in the way in which Katherine looks after Edward and Elizabeth (who acts as a narrator here).
In addition, the film beautifully highlights the many contradictions that existed in Henry’s court – from the moments in which Jude Law’s vulgar and suitably menacing Henry is laughing and making merry to the ones in which he behaves horrendously to Katherine, leaving her uncertain as to where she stands -leading her constantly to fight for survival.
The atmosphere and the way in which the film has been shot is exquisite – designed to perfectly to capture this era thanks to Hélène Louvart’s dark and atmospheric cinematography (if you are squeamish – please avoid the scenes of Henry’s old jousting injury), while Dickon Hinchliffe’s music rises and falls beautifully to change the tone in mood. Michael O’Connor’s costume design is sumptuous and captures the era beautifully. The whole film is filled with texture and tone that keeps the audience thoroughly engaged.
But credit should of course go to the cast for providing performances that are sharply detailed that draw the audience deeper and deeper into the heart of the story. Jude Law as Henry VIII is chilling to watch in his portrayal that highlights his aggressiveness and unpredictability perfectly – yet somehow (and through no fault of his own that is down to the script) the king overshadows his wife, missing somewhat the point of the story. Alicia Vikander is wonderful as the submissive Katherine, with her performance offering glmimpses of the character’s passion and need to make her voice heard. It is just a shame she and her character isn’t given more of an opportunity to shine. Erin Doherty as the passionate and fiery Anne Askew is vibrant to watch, while Simon Russell Beale as Stephen Gardiner is equally compelling to watch through his subtle performance.
Historically, there is plenty to be said about the film which in many way values the melodrama of created scenes rather than what it was that deflects from the actual story. However, the performances and atmosphere of the film carry it through to make it an intensely intriguing watch.
By Emma Clarendon
Rating: ⭐⭐⭐⭐