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As for historical content, yes, the film has the Queens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!