[rating=7.00]
Of the more fascinating stories of history, the story of Queen Elizabeth and Queen Mary, dueling monarchs each ruling their own slices of the British Isle, is one that has proven ripe for the machinations of Hollywood. Queen Elizabeth, in particular, has more than provided fodder for the cinema, as every few years seems to invite another telling of The Virgin Queen’s grace and poise. Mary, meanwhile, often remains but a footnote, a blip on the radars of our fascination with Elizabeth and Elizabethan England.
Theirs is a tale awash with tragedy and intrigue. Cousins++, they each represent the larger struggles of England at the time. Elizabeth a protestant and Mary a Catholic, inherent between them is the religious gulf that swept England into a series of wars both at home and abroad. Elizabeth’s father, Henry VIII, is famous to this day for renouncing the papacy and founding his own religion, causing some troubles for Catholics in England at the time. It also stirred resentments between the people, fomenting internal toil as well as scorn from Rome.
Most stories of Elizabeth focus on her attempts to more firmly establish the Church of England and her delicate tightrope walk that quashed Catholic rebellion while keeping Rome’s influence at arm’s length. If Mary shows up at all, it’s as a villain or, at best, a rival to the British throne. In Mary Queen of Scots, =the script is flipped, giving Mary her time to shine.
Queen Mary’s story is a bold choice for first time director Josie Rourke. This would be a difficult story to tell for even the most seasoned of filmmakers, and that she chooses this as the foundation for her career suggests a chutzpah worth keeping an eye on. Mary Queen of Scots is an imperfect film, but given its subject that was almost always a guarantee. Even while there were things that I wished were different or elements I wanted to be more fleshed out, the strengths of Mary Queen of Scots vastly outweigh its flaws.
Saoirse Ronan stars as the titular queen, returned from France to lay claim to her title, much to the dismay of her counterpart to the south, Elizabeth (Margot Robbie). Despite being billed as an epic struggle between competing monarchs, much of the film focuses on Mary’s problems within her own domain, including a rising protestant rebellion enflamed by preacher John Knox (an near unrecognizable David Tennant) and those among her court who resent being led by a woman. In this tale, Elizabeth is second-tier, with most of her scenes used to give context to the wider political geography of the time.
Even still, both women are fantastic in their roles, with Ronan, especially, proving her Ladybird acclaim was no fluke. While one certainly wishes that the actresses could have shared more screen time together, the scene in which they do meet is one of the best scenes of the year, full of pathos and subtext eked out by Rourke. It’s a well-earned scene, teased the entire film as the two monarchs engage in their relationship through letters and intermediaries.
Despite this, there are moments that full rushed over and skipped almost as if there was something lost in editing. At two hours, the film barely feels large enough to contain its story, and could have easily pushed three or more without losing its appeal. Still, Rourke manages to tell her story well enough and create captivating scenes while doing so. She is a filmmaker of supreme guts, and it will be a joy to watch as she hones her instincts over the next few years.
While it won’t win any awards, Mary Queen of Scots is still a mostly captivating film filled with stunning performances and fabulous direction. Period fans will find plenty to relish in this telling of Queen Mary and Queen Elizabeth, even if it leaves you hungry for more. At two hours, it does feel too short and constrained to hold the entirety of this epic historical tale, but Ronan, Robbie, and Rourke do a fantastic job at selling their take on these two fascinating women.
Mary Queen of Scots is now playing in theaters everywhere.
