Review: Jude Law rages through ‘Firebrand’ as a mercurial royal while Alicia Vikander hangs on

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As a movie buff with a deep appreciation for historical dramas and a knack for uncovering hidden stories, I was intrigued by the premise of “Firebrand.” The idea that Katherine Parr, one of Henry VIII’s wives, was more than just a nursemaid to an ailing king but also a closet Reformist radical and an abused spouse was an intriguing twist on established history.

Exploring the past for unsung heroes, overlooked figures, and untouched dramatic elements has always been a significant task for historians and novelists. It might seem that thoroughly researched monarchs from England, such as Henry VIII, would not fit into this category. However, “Firebrand,” which is based on Elizabeth Fremantle’s book “The Queen’s Gambit,” argues that Henry VIII’s last wife, Katherine Parr, was more than just a pious and submissive caretaker for a dying king. In fact, she was a secret reformist with radical ideas and, surprisingly, an abused spouse who was not someone to be trifled with.

Although the facts may not completely align with these ideas, they’re still intriguing perspectives to depict a tumultuous marriage during an unsettling period – even if Henry doesn’t necessarily need to be exposed as a serial #MeToo offender seeking justice. It’s unexpected that Karim Aïnouz, a renowned Brazilian-Algerian art-house filmmaker, chose an English costume drama as his first English-language project. Nevertheless, the film offers captivating performances from its two leading stars: Alicia Vikander portraying a pioneering feminist Katherine, and Jude Law transforming into the oppressive Tudor monarch in a nearly unrecognizable way.

The collaboration between the modernist screenplay writers, Henrietta and Jessica Ashworth, with Rosanne Flynn, presents challenges when it clashes with Aïnouz’s winding, heavy-atmosphere style. In 1546, we encounter Katherine, who has temporarily taken over as Regent while Henry is away fighting France. However, she faces the danger of treason by secretly meeting Anne Askew (Erin Doherty), a fiery Protestant preacher advocating for rebellion against the oppressive church that fears commoners reading the Bible in English.

Anne doubts that her longtime friend can make a difference being confined within the castle, but Katherine responds hopefully, “I’ve outlasted all other wives.” This isn’t the impressive statement it seems. As a nurturing stepmother to Edward and Elizabeth, Katherine has brought tranquility to their troubled childhoods. She believes her role was ordained by God to instigate change. When Henry returns in failing health, he brings the court’s fear to a boiling point with his insanity, suspicion, envy, and anger. Worse still, he bears a gangrenous leg wound. This not only endangers Katherine but also incites a desperate struggle for survival among Henry’s entourage. Figures like Stephen Gardiner, the fanatical bishop, and Edward Seymour, Edward’s manipulative uncle, would gladly see Katherine meet the same fate as her predecessors if it meant safeguarding their own positions.

I’ve been thoroughly captivated by Vikander’s graceful portrayal of Katherine in this film. At first, she takes an active role, but as Law’s mesmerizing performance as Henry unfolds, she steps back into the shadows. Law’s character, reminiscent of Oliver Reed, transforms the movie into a gripping biopic of a ruler’s tumultuous downfall.

Ainouz appears more and more focused on depicting a tense domestic atmosphere at the cost of developing Katherine as a powerful link between her husband’s insanity and Elizabeth’s blossoming womanhood in the storyline. However, at some point, it seems that crucial scenes are missing, leaving the narrative feeling weak and implausible. When “Firebrand” eventually reaches its climax with an extravagant display of dramatic license, we should be prepared to appreciate it fully, rather than being puzzled by an unexpected turn of events.

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2024-07-18 18:57