Mary Queen of Scots

Mary Queen of Scots is a sumptuous, emotionally charged historical drama that delves into the life of the captivating Mary Stuart, portrayed by Saoirse Ronan. Released in 2018, this film, directed and produced by Josie Rourke, dramatizes the intersectional conflicts of religion, gender, politics, and national allegiance in 16th-century Britain.

The movie is centered on the turbulent period in British history where Mary Stuart attempts to overthrow her cousin, Queen Elizabeth I, deftly played by Margot Robbie, for the English throne. However, this is not merely a synopsis of a historical power struggle; it's more about the personal clashes of these two powerful women who were cousins and competitors, rivals and potential allies, each imprisoned in the matrices of male power structures.

The focal point is the famed Mary Stuart, the Scottish queen with a mercurial life path. After being widowed at just eighteen, she defies pressure to remarry and instead, returns to her native Scotland to reclaim her rightful throne. But Scotland and England fall under the rule of the compelling and unmarried Queen Elizabeth I, leading to decades of political and personal conflict. Saoirse Ronan, best known for her roles in films like Lady Bird and Brooklyn, embodies Mary's character with a vulnerable strength that distinctly captures her resilience and ambition.

Opposite her on the checkerboard of monarchy is Margot Robbie as Queen Elizabeth I, a regal role that complements her preceding roles in movies like The Wolf of Wall Street and I, Tonya. Robbie portrays Elizabeth with pragmatic focus and simmering sensitivity. This is an Elizabeth who grapples with her perceived physical and emotional 'weakness' as a female ruler, showing a portrait of a queen who is as deeply human as she is royally distant.

One of the most notable aspects of this movie is the rich and sharp dialogues penned by Beau Willimon, favorably known for his work on House of Cards. These dialogues further magnify the tensions and nuances of the brokers of power wrapped in this era's political correctness and courtly diplomacy. Moreover, these conversations draw a distinct parallel between the power dynamics of the 16th century and the modern world.

The visual aspects of the movie deserve special mention. The cinematography by John Mathieson skillfully contrasts the vast, wild landscapes of Scotland with the claustrophobic, opulent courts of England. A breath of wind, the endless sea, a glance between two courtiers, or a dramatic flare of a dress— everything is captured with a keen eye that hints at a world teetering on the brink of change.

The costuming by Alexandra Byrne adds another layer to the storytelling. The intricate dresses, jewel-toned velvets and embroidery, and the contrasting attires of the two queens serve as visual metaphors that illuminate their individual personalities and their perilous positions amongst calculating men who seek to control them.

The supporting cast, including Jack Lowden, David Tennant, and Guy Pearce, significantly contribute to the narrative. Whether it’s Lowden's portrayal of Mary's second husband, Lord Darnley, David Tennant's fiery John Knox, or Pearce's sensible William Cecil, each character underscores the labyrinthine complexity of alliances, betrayals, and ambitions that marked this era.

The film has a spellbinding soundtrack by Max Richter, known for his evocative scoring in movies like The Leftovers and Waltz with Bashir. His soundtrack for Mary Queen of Scots weaves a poignant resonance through the scenes, effectively capturing the dramatic highs and lows of these women's twisted fates.

At its core, Mary Queen of Scots is a film about two women grappling for control in a patriarchal world, each bound by societal expectations and political machinations, yet determined to protect their respective crowns. It raises questions about authority, femininity, and the cost of ambition, while simultaneously examining the relationships between women in positions of power.

In the end, while the film is a historical piece, it speaks to contemporary issues – the struggles and triumphs of women in power, the confronting of male-driven narratives, the complexities of identity, and the often pernicious intertwining of personal desires with political duty. This theater of royal rivalry, though with a poignant reflection on the power dynamics, leaves audiences enthralled and pensive, long after the credits roll.