Caffeinated Clint
By Mary Lewens
It’s the kind of a film that should have ‘hit’ written all over it. Natalie Portman and Scarlett Johansson – two of today’s brightest young lights in Hollywood - costumed up and fit for a period romp and a king in the shape of Eric Bana. All the pomp and ceremony of the 16th Century royal court that goes with the dramatic story of Ann Boleyn and Henry VIII in the Tudor era – but with a twist involving Ann’s married sister, Mary.
When a flirtatious, cunning Ann is presented, by her ambitious father and uncle, as a potential mistress to console a lustful sovereign, whose wife has lost yet another male heir, her spirited behaviour on a hunt leads to the King being hurt. Tended to by Mary, the quieter of the sisters – he quickly falls for her instead and makes her his mistress. It sets in motion a dangerous game of seduction, sibling rivalry, treachery, betrayal, revenge and even incest – all taking place within the court of a quick-tempered monarch who dispensed orders of execution with barely a thought.
Both Portman and Johannson shine as the sisters. Portman brings Ann’s intelligence and ability to scheme, manipulate and seduce to life in heavy contrast with Johannson’s lower key shy, demure and kind Mary. Together they create the complex, dynamic relationship of love and hatred forged between sisters the world over, complicated by their own family’s costly need for status.
Mark Rylance plays the part of their weak but ambitious father led by his brother-in-law, whom David Morrissey injects with a commanding presence and status-hungry greed, while Kristen Scott-Thomas, as their mother, uses her trademark iciness to underline the scorn she feels for her husband’s decision-making. All three are largely wasted in their roles, as is Eric Bana, whose powerful, brooding King, despite being the object of desire, is almost elbowed aside to make room for the twists and turns in the girl’s lives.
Historical accuracy aside, what should have been a sumptuous star-studded film using the gift of one of English royal history’s most explosive moments manages to barely rise above average. The costumery, cinematography and direction were fine but lacked the ability to take your breath away. The script had its moments, largely thanks to Portman’s ability to breathe life into her lines, while the editing was far from seamless, and seemed to be missing large chunks of the story.
Portman and Johansson manage to hold their own, but the story fundamentally lacks punch, which is quite an achievement in itself given the extraordinary historical facts, however heavily embellished here. While the sequence of events are ‘loosely interpreted’ and possibly inaccurate to an extent, it is based on the real life and far-from-dull entanglements between the Bolyen daughters and Henry VIII. A shamefully squandered opportunity
Extras
Not even the extras are anything to shout about. Instead of using the chance to delve into the fascinating antics of the Tudors, it’s simply a desultory scene selection, without even redeeming itself with commentary. It’s as if the film-makers just can’t be bothered.
