Movie Review ~ Firebrand

Recently, there has been a renewed interest in the lives and wives of women married to Henry VIII.  Once limited to the easy-to-remember rhyme, ‘Divorced Beheaded Died Divorced Beheaded Survived,’ to identify their fates, the women have been given new autonomy in television dramas and a successful stage musical that has taken the world by storm.  Arriving between the popular Showtime series The Tudors and theatrical sensation SIX was Elizabeth Fremantle’s novel Queen’s Gambit.  Published in 2012, it was the first of seven novels Fremantle has written and by far the most popular.  Centered on Henry’s last wife, Katherine Parr*, it went beyond the typical historical recounting and blazed its distinct trail.  Now, a movie adaptation, Firebrand, aims to do the same.

Premiering at the 2023 Cannes Film Festival, I wouldn’t be too concerned it has taken over a year for the movie to find its way into theaters.  This is a tricky time for film, and it should be counted as a win that a period-set historical drama is playing at all.  A viewer can tell early on that Firebrand is operating on an artistically elevated level, as evident from its bold opening credits.  This sets the tone for a story that doesn’t pull punches in recounting the reality of life in the Tudor court. It provides a strong narrative and vibrant performances that pull you in like most modern-set films released recently are incapable of doing.

After being widowed for the second time at thirty-one, Parr (Oscar-winner Alicia Vikander, Tomb Raider) plans to marry for love.  However, after catching his eye, the strong-willed Katherine is reluctantly forced to become the sixth wife of the egotistical King Henry VIII (Jude Law, Peter Pan & Wendy).  The ailing monarch was plagued by paranoia and the ghostly fates of his past wives, battling back betrayal from within and positioning himself behind his whip-smart wife when court intrigue puts them both in dangerous waters. 

When Katherine’s friendship with Protestant preacher and condemned heretic Anne Askew (Erin Doherty) comes to light, she must use her intelligence and resilience to avoid Henry’s suspicious gaze that would cast her as a traitor to the throne.  With a temper that can have one’s head easily removed from one’s body should the mood strike him, everyone feared Henry, but Katherine understood him more than most.  While she dreams of love with Thomas Seymour (Sam Riley, Maleficent), there’s a constant reminder of the legacy of women that came before her, keeping her graciously alive but sadly under Henry’s thumb.

Vikander has always excelled at giving her characters a strong subtext that doesn’t require mountains of dialogue to convey.  Her molten performance captures the wherewithal of Katherine and her underlying vulnerability, making her a compelling screen presence.  A skilled writer with righteous dignity, she became the first English Queen to publish a book using her own name, demonstrating her ability to be more than a toy for Henry to toss around.  On the other hand, Law transforms himself physically into a grotesque Henry VIII.  Despite not bearing a close likeness to the notorious ruler we’ve seen in paintings and tapestries, he’s dangerously perfect playing this influential figure.  If you know history, you know that Doherty won’t have much time to make an impression as Askew, but she makes the most of what’s there, afforded a few thrilling passages by screenwriters Henrietta and Jessica Ashworth.

Director Karim Aïnouz ensures that Firebrand is a feast for the senses and gives it an electrifying art-house verve, thanks to its precise production design and stunning cinematography.   There’s an avant-garde element to the piece I wasn’t expecting but immensely enjoyed, with Hélène Louvart’s (The Lost Daughter) camera work enveloping the viewer in a lush, bewitching world.  The splendor of the 16th century is harnessed and mirrored in Michael O’Connor’s (Ammonite) luxurious (and heavy-looking!) velvety costumes.  Weaved throughout is Dickon Hinchliffe’s (Out of the Furnace) pulsing score, which is right for the time but works in today’s ears.

Part brocaded royal intrigue, part visceral character piece, Firebrand walks a tightrope between traditional and dreamlike with thrilling confidence. One moment, Aïnouz immersed us in the lush trappings of a gilded Henrician England.  The next, the film ambitiously takes on a dark fairy tale quality powered by Vikander and Law’s heated performances.  While it may take a rather daring leap in its finale, attempting to rewrite history and boldly swinging for the rhetorical fences, you can’t fault the filmmakers for reworking well-worn historical ground into a strongly feminist parable.  It reaffirms why this queen’s legacy has proven so enduring and why she’s the ultimate survivor.

*The book and the film use this spelling of Parr’s first name, though Catherine is also widely used.