Mary, Queen of Scots

After lighting up the box office with a film about Ann Boleyn, Anne of the Thousand Days, director Charles Jarrott and producer Hal Wallis did the only natural thing: they followed up with a film about her daughter, Elizabeth I (Glenda Jackson, who had just played the Tudor queen in the BBC's Elizabeth R). Granted, Jarrott spends more time with her Scottish adversary, Mary Stuart (Vanessa Redgrave, who starred in Ken Russell's The Devils the same year), but there are more than enough great British actors, like Trevor Howard and Daniel Massey, to go around in this handsome historical drama. Elizabeth starts off as a naïve 18-year-old who grows up quickly after the death of her first husband, the King of France. It will hardly be the first loss in a relatively short life filled with losses. She uses the occasion to return to Scotland where the locals are none too happy to welcome a Catholic ruler. She's also hoping to befriend Elizabeth in whom she senses a kindred spirit, but the Protestant resists her at every turn. (Though they share two scenes, the women never met in real life.) Even Mary's illegitimate half-brother, James (Patrick McGoohan, The Prisoner), does all he can to thwart her efforts to rule. Mary thinks she has a shot at happiness when she falls for Henry Darnley (Timothy Dalton, Redgrave's partner for the next 15 years), but beyond the fact that he's been cavorting with court musician David Riccio (Ian Holm), he's more interested in a title than a wife. "I am the king. I will be obeyed!," he barks at her on their wedding day, but she shares Elizabeth's strong will and refuses to let him control her life. Though Henry converts to Catholicism and gives her a son, the future King of England, the marriage only goes from bad to worse, giving Dalton one of the more enjoyably devious roles of his long career. Once Henry exits the picture, Mary marries steadfast supporter Lord Bothwell (Nigel Davenport, A Man for All Seasons)—a marked improvement over his disloyal predecessor. Unfortunately, Bothwell won't be able to prevent the jockeying for power that will lead to Mary's abdication, house arrest, and eventual execution. John Hale's script never fully establishes what everyone has against Mary, other than anti-Catholic sentiment combined with a blind devotion to a more tactically formidable opponent. The film avoids being overly depressing thanks to Redgrave and Jackson's magnetism. Margaret Furse's costumes are magnificent, and John Barry's heartfelt, Oscar-nominated score keeps pathos at bay. In Jarrott's hands, Elizabeth's triumph is a pyrrhic victory at best, since she would continue to rule England for years to come, but without a husband and children with whom to share her good fortune. Though the narrative takes liberties with the historical record, the chance to watch two formidable actors go head to head in such a swiftly-paced production makes this royal biopic more entertaining than most. Recommended. (K. Fennessy)