The Firebrand is a revisionist period piece by screenwriters Henrietta Ashworth, Jessica Ashworth and Rosanne Flynn that may appeal to historical drama enthusiasts. Their story presents a feminist perspective on Katherine Parr (also known as Catherine or Kateryn Parr) who was the sixth and last wife of King Henry VIII. However, this story does not fly high ever since it began with Alicia Vikander, Oscar Winner (The Danish Girl) and Jude Law, Oscar Nominee (The Talented Mr. Ripley), in royal robes because there is no majesty about it.
The film directed by Karim Ainouz (Madame Satã), however offers very realistic portrayal of 16th century England and through its stunning set-pieces, exceptional cinematography, vibrant art direction, costumes; it keeps one interested though unsatisfied.
However, in Firebrand this focus is uneven. It’s a period piece which tells us at the start “we must draw our own conclusions often wild” about historical events; so if the title we’re about to view emphasizes Katherine being strong here for her own survival in terms of an impotent maniacal king show us a strong Katherine Parr all along instead of constantly reacting to her husband’s mood swings. Great news though! Well-performed interpretations are offered by Vikander and Law despite having good but script falling short.
Regent Kathy is taken back to mid-1500s when the tyrant king goes fighting abroad. The film shows us why she has little power as men go around in court while peacocking their way to influence her decisions. She occasionally has ideas that require some coaxing for acceptance.
Katherine’s intense desire to detatch from the Catholic Church and ensure bibles are published in English so churchgoers can decide for themselves what they mean comes across but nowhere near enough runway exists here to really capture Parr’s reputed spirit. Simply put, King Henry comes back and the movie’s attention abruptly turns to him.
However, following this performance there is something captivating about watching Vikander and Law in their roles. Law dominates the screen as King Henry VIII with a raw vulnerability, the fading man who still tries to maintain every bit of control he once had in his hands. Enjoy seeing Jude Law’s Henry complain through many scenes. In her portrayal of Katherine, the stunningly talented Vikander exudes conviction underlying gracefulness. She sparkles but she deserves more than what her script offers.
The movie also boasts of great supporting cast like Eddie Marsan and Sam Riley who plays Edward Seymour and Thomas Seymour respectively which are brothers at the same time Katherine’s allies; while the unrecognizable Russell Beale becomes Stephen Gardiner a Catholic Bishop who has no problem with morphing into evil incarnate. The actors together with the backdrop and set pieces make for a vibrant kaleidoscope of the Tudor era, so it is an appropriate adaptation of Elizabeth Fremantle’s flagship historical novel known as ‘The Queen’s Gambit’ but you are left feeling as though there should have been more.
This is especially true toward the end of this film where a climax if any would be expected to inspire some life into it. By now, Katherine had already become pregnant which was kind of lucky because she managed to prevent him from suspecting anything else about her pregnancy other than that she is expecting his child. It goes without saying that everyone hopes for a boy.
At times compelling and featuring two top class performers in lead roles, Firebrand may not reach its full potential but two brilliant performances alone are worth giving this story attention. Although one might wish for a different perspective on her (and them) behind King Henry VIII or when Hollywood will adapt award-winning Broadway musical Six that showed six wives of king Henry in such vibrant regal wear until then Firebrand stands as well-casted apéritif..
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