In the latest historical drama "Firebrand," Alicia Vikander takes on the role of Katherine Parr - the final wife of the notorious Henry VIII. While the movie strives to portray Parr as a courageous and vengeful radical, it only intermittently achieves this aim. Jude Law, in stark contrast, delivers an extraordinary performance as the unpredictable king, lending an explosive energy to the film every time he appears on screen.
Director Karim Aïnouz's film, based on the historical novel "Queen's Gambit" by Elizabeth Fremantle and penned by Henrietta and Jessica Ashworth, often falls into the pattern of a subdued period drama. This is mainly due to the need for Katherine to maintain a low profile to avoid the fate of her predecessor wives. Vikander, known for her nuanced performances, has limited opportunities to showcase her character's inner conflict amidst the ever-watchful eyes of the court.
The intrigue intensifies when Henry goes off to war in France and Katherine temporarily assumes the role of regent. While managing the kingdom, she bravely tries to introduce her own progressive ideas amidst skeptical court advisers. Katherine's character truly comes alive when she reconnects with a childhood friend, Anne Askew, a daring female preacher with similarly radical views. However, the promise of this early spark quickly dissipates as the film returns to palace politics.
Among the key players in this deadly dance of power is Eddie Marsan as Edward Seymour, the uncle of the heir to the throne, and Katherine's potential past flame, Thomas, played by Sam Riley. Aïnouz fails to effectively leverage these palace intrigues, resulting in a narrative that often feels laborious despite the high stakes.
A redeeming factor in "Firebrand" is the film's ability to depict the capricious nature of Henry's court. Scenes flip in tone without warning, making courtly joyous occasions suddenly perilous, reflecting Henry's unpredictable and tempestuous nature. The film also graphically portrays Henry's physical and mental decline due to a worsening leg infection, creating viscerally unsettling moments.
The film's cinematography, helmed by French maestro Hélène Louvart, shines through with its depiction of the British countryside. Her tonal color palette brings out the mystery and looming danger in the narrative, heightened by the eerie music score. As the film progresses, viewers are drawn into the suspenseful waiting game as Katherine tries to keep her revolutionary ideas concealed until Henry's death. The film concludes with a revisionist historical showdown, which, though emotionally satisfying, lacks a strong narrative backing.
