Saturday , April 17 2021

Review "Mary Queen of Scots": A real epic with only a great scene

Saoirse Ronan and Margot Robbie are doubling the queens in an unbalanced epic on two legendary women who try to dominate a world of men.

The great pleasure of historical biopicies often resides in their visceral power to remind us that history is always personal for those who do it. From the Middle Ages to our first walk through the Moon – from Jesus of Nazareth to Freddie of Kensington – even the most mythical characters were flesh before being folklore. Josie Rourke's "Queen of the Scots" is an epic look at the intimate frustrations of two young and powerful women who spend most of their energy navigating between who they are and what they represent.

It is not just about a movie in which human notions such as sacrifice and self-esteem conform the course of an empire; it's a movie about These forces and as always determined our destiny. Unfortunately, it is also a movie that is released by its own ideas. Although this medieval and ever-medieval drama embodies perfectly the struggles of its heroines, it also shares its fatal incapacity to reconcile personal struggles with political strategy.

Written by the creator of "House of Cards", Beau Willimon (who adapted the screenplay of John Guy's book "Queen of Scots: The True Life of Mary Stuart") and harassed by the sufficient Machiavellian power games to make the white house feel Francis Underwood as a playground sword "Mary Queen of Scots" begins at an unstable moment and runs out through the following years. The year is 1561 and Mary Stuart (Saoirse Ronan, as expected and inevitably less convincing than he was in "Lady Bird") is returning to his homeland after being a Catholic in France and being a widow for King Francisco II at 17 years Technically a queen since she was six days old, Maria dear of iron has every intention of returning to her place on the throne. Of course, this does not fit well with the teenager's half-brother, the count of Moray (James McArdle), who ruled in his absence and assumes that his penis gives him the right to continue doing so.

Curiously, Moray is not the only one who thinks he has a special claim against Scotland. Mary's welcome feast also includes a Protestant "firebrand" named John Knox (David Tennant, playing the religious leader as Sean Hannity, from the 16th century), who spreads vicious lies about Mary to convince her eager flock that her A woman's reign is against the will of God. The unleashed masses of the Elizabethan age: they are like us.

Read more:Little Women: Timothée Chalamet Behind-the-Scenes Actions Photo by Greta Gerwig and Saoirse Ronan

Worst luck for Mary, her greatest potential ally is her most powerful rival: her 25-year-old cousin, queen Elizabeth I of England (Margot Robbie, exquisitely tender in a thankless little supporting role that adored her with a case unpleasant chicken pox, an undisciplined hairdressing wig, and the worst prosthetic nose on this side of Nicole Kidman in "The Hours"). The two monarchs never met, but they share letters, ambitions and a unique psychic understanding of how the woman presides over a patriarchy that will first choose the war against commitment. Left with their own devices, María and Isabel put peacefully the tensions between them and their countries; Maria himself proposes the elegant solution that would only inherit the throne if Isabel fails to produce an heir. Elizabeth is susceptible, but her main advisor (Guy Pearce) is not. Sabotage abounds on both sides. The battles are waged: the heads lose.

While Ronan and Robbie find ways to breathe new life into their respective queens, the movie is much more convincing when their characters play each other. Rourke, the innovative art director of Donmar Warehouse in London, never regrets that he is new behind the camera, but his visionary theater chops are more evident when he eliminates the distance between María and Isabel, intertwining their struggles as if they were standing up opposite ends of the same scenario.

Even without breaking the aesthetics of the frustrating period of the film (a missed opportunity, bearing in mind the background of the director), Rourke finds a way to unite these queens together, establishing a psychic connection that reminds between King and Kylo Ren in "The Last Jedi "" Willimon's script is a bit uncertain about the prominent role that Elizabeth should play in Mary's story. Robbie is on the screen for a maximum of 25 minutes and sometimes feels like a more isolated subplot than a key figure in his own right It's fascinating to see how Elizabeth, despite her relative wisdom and popularity, is found by many of the insecurities that Mary has too much to recognize.

Margot Robbie,

"Queen Mary of the Scots"

Focus Features

She may be the most experienced woman here, but this young and unstable queen is not the Isabel you know; She still does not harden on Cate Blanchett. Instead, Robbie plays like someone who is charged by a birth right that can never be surrendered, sensitive to the fact that his father was one of the most violent men in history. She is also in love with a courtesan played by Joe Alwyn, although the movie only indicates how painful it should be for Elizabeth to offer her crushing as a potential husband for Mary.

Read more:Margot Robbie and Saoirse Ronan filmed only one scene with "María, Reina dos Escoceses", and took them to tears.

Ronan is the clear lead of the movie, but he does not enjoy the same kind of dynamism. As fun as its use in the Scottish court, Mary's internal strength and progressive ideals compensated by her teenage naivety – it's basically the story of a girl who resigns her first girl she – there are only so many things she can do with a character who can not enjoy the same freedoms that she wants to grant to her people. For everyone's credit, launching Irishman Ronan as the exotic Scottish queen really reinforces that idea; His accent is strong, but he has a feeling of foreigner. Ronan also makes a fierce and believable leader, commanding the two movie sequences of the film with a disinterested adolescent, but the force alone is not enough to save Mary, and it is not enough to keep this movie on her.

It is not surprising then that the best scene in "Mary Queen of Scots" is the only one in which Mary and Elizabeth are in the same room, the rival queens are in a neutral ground for a tense heart that Rourke has exactly like the powwow between From Niro and Pacino to "Heat." The perfect opportunity for Rourke to delight in his talent for staging, the imaginative encounter – a maze of delusions and emotionally loaded fabric that also highlights the ornate costumes and the delicate sets of the film – rescues the film from its section Intermediate and retreats at both ends of the frayed kinship between its opposing figures. It's worth the long trip and, to a large extent, unknown to get there, it's an amazing moment that resonates through the centuries, these two women try to get out of their own shadows and take advantage of the strength they see each other before they can be used against them.

Degree: B-

Focus Features will launch "Mary Queen of Scots" on theaters on December 7.

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