The first Elizabethans… Mary, Queen of Scots (1971), BFI Blu-ray

 

Whilst Helen Mirren is perhaps the only actor to have played both the first and the second Queen Elizabeth, Glenda Jackson played the first twice having just come off a very successful portrayal in the six-part BBC series Elizabeth R (1971) when offered the chance to reprise the role for this film. The original choice, Geneviève Bujold, had decided against playing her “daughter” after her award-winning turn as Anne Boleyn in Anne of a Thousand Days, also directed by Charles Jarrott and also produced by the Hal B. Wallis so, with Vanessa Redgrave nailed on as Queen Mary, they made Birkenhead’s finest actor, an offer she couldn’t refuse. Jackson’s one stipulation was that all of her scenes were filmed first in the initial three weeks shooting… such is the power of a Star and the pressing need for anyone to grow back their natural hairline.

 

Apart from the chance to see these two giants of British cinema and theatre playing such iconic roles, the film is jam-packed with some of the finest actors of the kingdom, Trevor Howard at his economical scene-stealing best, Nigel Davenport carrying an “atmosphere” of febrile energy throughout and, talking of which, New York-born, Irish raised and English-schooled, Patrick McGoogan who is thoroughly unsettling in darker ways. There’s also young Timothy Dalton, a rising star who formed an attachment with his Scottish queen beyond the film and for fifteen years. We also can’t overlook Daniel Massey either nor Ian Holm… but we’ll get to them all later.

 

Whilst contemporary reviews were very positive towards the players there were some brickbats for the slow pacing as well as historical inaccuracies/liberties… In his commentary, American film writer Sergio Mims makes a very good point concerning the narrative content in a year in which the film code lay smashed on the ground with so many “permissive” films released, all of which were more raunchy and daring than this historical “procedural”… it was hardly going to compete with A Clockwork Orange, Klute, Dirty Harry, Death in Venice or Get Carter; different agenda and style but wrongfooting some critics save Roget Ebert who could see the value of Redgrave and Jackson’s skills.

 

"Vanessa Redgrave is a tall, straight-backed, finely spirited Mary, and Glenda Jackson makes a perfectly shrewish, wise Elizabeth." Roger Ebert

 

Glenda and Vanessa

As for historical content, yes, the film has the Queens meeting, which they never did, but they did correspond and this creative shorthand proves a good way of personalising their relationship as well as addressing the manoeuvrings and bravery that led Mary to her fate. The film plays more due diligence to the progression of events than many subsequent films have, 2018’s effort especially… with Margot’s Liz being friends with Saoirse’s Mary, although Max Richter’s score is very fine. Talking of which, we have a John Barry score here, so right back ‘atcha 2018!

 

If anything, this Mary makes light of the historical detail with so many Shakespearean actors able to punch meaningfully through the detailed script with ease and meaning. Can any film "based on historical events" truly capture the full picture with anything like historical accuracy; all we can hope for is a reasonable flavour and, for those whose interest is piqued, the starting point for further researcher. Watching this film I automatically thought of the now later Hilary Mantel, who has done so much to humanise the historical novel with thorough primary source research matched with erudition and storytelling skill. What she could have made of Mary and Elizabeth we can only guess, for now though we have one of the most intriguing relationships in British History all illuminated by the extensive correspondence between the two, all recently on show at the British Library.

 

We start in France, on location at Château de Chenonceau, and young Mary’s husband Francis II falling victim to a seizure. The balance of power in western Europe was very precarious even as we look back on this Elizabeth’s long reign with questions of religion, succession and nobility all playing their part in destabilising a monarch with no heir. Mary was young but had arguably a greater claim and, crucially, a son, James.

 

Daniel Massey

Powerful though these women were, their weakness was often the men in their life, certainly in Mary’s case. Her cousin half-brother James Stewart, 1st Earl of Moray (Patrick McGoohan) just wants to manage her, and rule, happy for her to be married and left in France and then, on her return to Scotland, frustrated by her marrying the impulsive Henry Stuart, Lord Darnley (Timothy Dalton), a fine looking but weak-willed fop, directed at her by Cousin Elizabeth, to weaken her position and to draw her eye away from her suggested groom – and lover - Robert Dudley, Earl of Leicester (Daniel Massey).

 

“It's all very Game of Thrones…” as someone once said to me after one especially deft piece of politics at work… I didn’t study The Prince and Discorsi for nothing! Unfortunately for Mary she has to learn as she goes and doesn’t have the sound counsel Elizabeth has from Sir William Cecil (Trevor Howard) and even the well-intentioned promptings from advisor, David Riccio (Ian Holm) is undermined by his relationship with Darnley, un-historically intimate as it may possibly be.

 

Eventually Mary finds solace and support with James Hepburn, 4th Earl of Bothwell (Nigel Davenport) who, as film scholar Ellen Cheshire points out in her excellent booklet essay, is seen by some as a more abusive presence in her life. Here he helps give her the confidence to use her increasing maturity but she plays her hand badly and Elizabeth, whilst always offering her a way out, has little option in the end. One of her mottoes was video et taceo (I see and keep silent), and it’s hard to escape the conclusion that she simply made fewer mistakes.

 

Redgrave and Davenport

All the same, Mary’s son James was crowned king following Elizabeth’s death and from 1601, in the last years of Elizabeth's life, the way was prepared with the ailing Queen’s chief minister Sir Robert Cecil – son of William - maintaining a correspondence with James, then the Scottish King, in order to prepare for a smooth succession. Needs must when it comes to the continuity of our monarchy… and these people were ultimately on the same side.

 

As an historical film, Mary of course takes liberties, but as the chance to witness a face off between Jackson and Redgrave it’s hugely enjoyable. Vincent Canby in The New York Times, saw it as "a loveless, passionless costume drama…” but he must have been expecting a car chase, organised crime and more nudity. It stands up very well and looks gorgeous thanks to Christopher Challis’ cinematography.

Glenda abides

As is usual, the Special Features are a bit special!

• Presented in High Definition
• Audio commentary by film historian and critic Sergio Mims (2020)
• Isolated John Barry score with commentary from film historians Nick Redman and Jon Burlingame
• Riding High (2022, 6 mins): actor Frances White recalls her experiences on location
• The Guardian Lecture: Glenda Jackson (1982, 77 mins, audio only): from an interview at the National Film Theatre
• Now and Then: Vanessa Redgrave (1968, 30 mins): and interview with Bernard Braden for his never broadcast series
• Promotional trailer (1971, 4 mins)
• Image gallery
• Newly created audio description track
• Illustrated booklet with a fabulous new essay by Ellen Cheshire, biographies of Vanessa Redgrave and Glenda Jackson by John Oliver, credits and notes on the special features – this is in the first pressing only so be quick!

 

You can order the set from the BFI’s online shop or onthe Southbank where you will be tempted with plenty of other goodies…