This Netflix film praised for its historical accuracy is missing that essential ingredient to make it great.
Robert the Bruce’s fourteenth-century rebellion against England is cinematically recounted in this Netflix feature that tries to cram as much history as possible in 121 minutes. Directed by David Mackenzie, Outlaw King (2018) brings to life all the intrigue and violence of late medieval feudalism. Though the film comes across as authentic and makes a genuine effort to get the history right, it lacks some essential ingredients to break into the top tier.
As the film opens, the defeated Scottish lords are vowing fealty to King Edward I of England (Stephen Dillane), including Robert Bruce (Chris Pine), Lord John III Comyn (Callan Mulvey), and Aymer de Valence (Sam Spruell). Robert has history with King Edward I’s son, Edward, Prince of Wales (Billy Howle), a weaker man who just wants his father’s approval. As a parting gift, King Edward I sends his goddaughter, Elizabeth de Burgh (Florence Pugh), to become Robert’s wife.
Things get complicated when Robert’s father dies, and Robert is left competing with Lord Comyn for the Scottish throne. When Robert learns King Edward I executed William Wallace, he senses an opportunity to renew the rebellion. Lord Comyn wants to remain loyal to England, so Robert brutally murders him in a church and then gathers an army. Unfortunately, Aymer de Valence has also remained loyal to England, ambushes Robert’s army in a forest, and destroys it.
Robert and a few companions are forced to flee. He sends his wife and daughter into hiding, where Edward, Prince of Wales captures them and brutally murders Robert’s brother. Robert decides to fight a guerilla war, culminating in the Battle of Loudoun Hill, where Robert uses the boggy terrain and clever tactics to his advantage. He defeats the English army and humiliates the Prince of Wales, who is revealed to be a miserable coward. Robert and Elizabeth are reunited and live happily ever after.
Continue reading “Outlaw King: It’s Not Braveheart”
The early life of Mary Wollstonecraft Shelley, author of the Gothic novel Frankenstein, is recounted in Mary Shelley (2018) a period drama/romance written by Emma Jensen and directed by Haifaa Al-Mansour. It was originally titled The Storm in Our Stars, and focuses mainly on the relationship between Mary and Percy Bysshe Shelley, and how their relationship inspired Frankenstein—the story of a mad doctor who reanimated a corpse using electricity. It left me wishing someone had shot a jolt of electricity into this sullen and mediocre film.
The year is 1814. Sixteen-year-old Mary Wollstonecraft-Godwin (Elle Fanning) lives in London with her father, writer and book seller William Godwin (Stephen Dillane), her stepmother, Mary Jane Clairmont (Joanne Froggatt), and stepsister, Claire Clairmont (Bel Powley). Mary greatly admires her birth mother, early feminist theorist Mary Wollstonecraft, who died when she was a baby. Her rebellious streak sets her at odds with her more conventional stepmother, and her father sends her away to Scotland.
In Scotland, Mary meets 21-year-old poet Percy Shelley (Douglas Booth), who follows her back to London under the pretense of becoming her father’s student. The two fall in love, but things get complicated when Percy’s wife Harriet (Ciara Charteris) shows up with their young son. Bucking social convention, Mary, Percy, and Claire run away together and face financial hardship and the death of their first child.
Meanwhile, Claire attracts the attention of Lord Byron (Tom Sturridge) and becomes pregnant. Together with John Polidori (Ben Hardy), they spend a few tumultuous weeks together in Geneva, where Byron challenges them to a ghost story writing contest. This inspires Mary to begin writing Frankenstein. After becoming estranged over Percy’s deplorable personality, the two reunite in her father’s bookshop and live happily ever after.
Historically, Mary Wollstonecraft Shelley (1797-1851) was the daughter of radical political philosophers William Godwin and Mary Wollstonecraft. She met Romantic poet Percy Bysshe Shelley as a teen and they married in 1816 after Percy’s first wife, Harriet, committed suicide. Mary Shelley is mostly known for writing the Gothic novel Frankenstein (1818), which was published when she was twenty years old. Percy died in a boating accident in 1822 and Mary returned to England with their fourth and only surviving child. She went on to publish several other novels, in addition to promoting her late husband’s work.
Continue reading “Mary Shelley: The ‘Sturm und Drang’ that Inspired Frankenstein”
An elderly woman with an enigmatic past pines her days away in an asylum, until a doctor begins investigating her case and ultimately gives them both a second chance at life in The Secret Scripture (2016). It is a romantic tale filmed on location in Ireland and is one of those films audiences seemed to like but critics panned. Beautiful cinematography and emotional depth masks an otherwise ridiculous plot.
The Secret Scripture is based on a novel of the same name by Sebastian Barry, author of A Long Long Way (2005). It was released in Canada and the U.K. in 2016 but came to the U.S. in October of this year. It was adapted for the screen and directed by Jim Sheridan, who also directed My Left Foot (1989) and The Boxer (1997). Both Sebastian Barry and Jim Sheridan were born in Dublin and have focused their careers on highlighting the Irish experience.
The film centers on Roseanne McNulty (Vanessa Redgrave), an elderly woman in a mental institution who allegedly murdered her child. Dr. William Grene (Eric Bana) comes to evaluate Rose to see if she is sane enough to live on her own, because the institution is being remodeled into a spa. Dr. Grene becomes fascinated with her life story after discovering a journal she’s kept, written on the pages of a Bible.
As a young woman, Rose (Rooney Mara) lives in Belfast with her sweetheart, Michael McNulty (Jack Reynor). He leaves to join the British air force during World War 2. She moves to the Irish countryside to escape the German bombing raids, only to run afoul of local conventions. After being exiled from her aunt’s cafe to an isolated cottage, Michael just so happens to be shot down in her backyard and she hides him from Irish partisans.
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Based on the 1994 novel Dan Leno and the Limehouse Golem by Peter Ackroyd, The Limehouse Golem (2016) is a ghoulish portrayal of a Victorian London slum and the stone-faced detective trying to solve a series of grizzly and sensational crimes. It was directed by Juan Carlos Medina and adapted for the screen by Jane Goldman.
Medina is an inexperienced director, having only four films under his belt since 2001, and only two were full-length. Goldman wrote screenplays for The Woman in Black (2012), X-Men: Days of Future Past (2014), and Kingsman: The Secret Service (2014). Her talented script shines through.
In the opening act, Lizzie Cree (Olivia Cooke) is arrested on suspicion of poisoning her husband, John (Sam Reid). Meanwhile, Inspector John Kildare (Bill Nighy) is tasked to solve the “Limehouse Golem” murders, which have become sensationalized in the press. He enlists the help of a Limehouse bobby George Flood (Daniel Mays).
They discover the Golem’s diary written on the pages of “On Murder Considered as one of the Fine Arts” (1827) by Thomas De Quincey in a library and narrow the suspects to four men: philosopher Karl Marx (Henry Goodman), writer George Gissing (Morgan Watkins), comedian Dan Leno (Douglas Booth), and John Cree.
Inspector John Kildare is not an adept detective and even refers to himself as a scapegoat. Focusing almost entirely on handwriting analysis to whittle down a list of four suspects, he misses obvious clues like the fact that no new murders occur after the death of John Cree and the imprisonment of Elizabeth. The Limehouse Golem made it clear he was seeking fame above all else; he would not let someone else take the blame while he quietly slipped away, meaning the murderer had to either be John or Elizabeth.
Continue reading “The Limehouse Golem: A Ghoulish Portrayal of Victorian London”
Written and directed by James Gray, The Lost City of Z (2016) traces the life of British soldier and explorer Percy Fawcett. Fawcett (Charlie Hunnam) is compelled to scour the Amazon for evidence of a lost civilization. Along the way, he’ll repeatedly abandon his wife Nina (Sienna Miller) and his children and overcome resistance from skeptical colleagues, all to ultimately come up empty handed. It is based on a book of the same name by David Grann.
I’ve been looking forward to seeing this film since its release, because it’s one of those real life stories more incredible than fiction. Percy Fawcett’s adventures inspired both Indiana Jones and Arthur Conan Doyle’s novel The Lost World (1912). Unfortunately, The Lost City of Z was less an adventure film and more a plodding, meandering biopic that never quite finds its footing.
As the film opens, we see Percy Fawcett at the cusp of the British upper class. He is a major in the army, but has no medals; he goes on a hunt and kills the stag, but is not invited to dine on it. We see he’s skilled, daring, and willing to take risks. However, this isn’t quite an introduction.
The film makers assume their audience already knows who Percy Fawcett is, but he is a relatively obscure historical figure, especially to American audiences. It’s crucial to quickly establish the identity of the main character and why he is important. Otherwise, you lose the audience’s attention.
Thirteen minutes into the film, a plot finally appears. We learn Fawcett’s father was a gambling drunkard, and he is told that if he completes his mission to map the Bolivian border it will redeem his family name.
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Originally published in Great Britain in 2012, Ghosts: A Natural History (2015) by Roger Clarke is an exploration of the subject framed by a taxonomy of eight varieties of ghosts. Each chapter is a micro history of one or two prominent ghosts and trends in ghost hunting, from the seventeenth century Tedworth House and eighteenth century Hinton House, to the Brown Lady of Raynham Hall and the Borley Rectory in the twentieth.
Through these locations and events, Clarke traces a history of not just ghosts but the people fascinated by them. With the exception of the haunted German U-boat, U65, all of the discussed locations are in Great Britain. Clarke describes the British Isles as being particularly overrun with spooks and specters.
Ghosts: A Natural History is a wonderful book, rich with fascinating places and characters. Clarke brings to life the people involved in these events, some of whom may surprise you. For instance, I knew Royal Society member Joseph Glanville was convinced of the reality of witchcraft, but I didn’t know he felt the same about ghosts. Likewise, I was amused to read that his contemporary, Robert Boyle, father of modern experimental science, joined Glanville in investigating poltergeist activity at the Tedworth House and what became known as the “Devil of Mâcon.”
Religion is another interesting aspect of this book. According to Clarke, much of England’s ghost belief springs from latent Catholicism or former Catholic sites. When Catholicism was suppressed in England and the Church’s property confiscated, many rectories, graveyards, and monasteries were left to decay–attracting a reputation for being haunted. With one notable exception, Protestant ministers tried to stamp out ghost belief, since ghosts were supposedly souls trapped in purgatory–a thoroughly Catholic notion. However, John Wesley, founder of Methodism, not only believed in ghosts, but poltergeist activity plagued his family home at Epworth as a child.
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In Man and the Natural World: Changing Attitudes in England 1500-1800, historian Keith Thomas argued that English sentiments regarding the natural world progressed from exploitation in the sixteenth century to conservation in the nineteenth. Before 1500, the prevailing worldview in England had been that wilderness was something to be subdued and civilized. After 1800, the prevailing belief was that wilderness needed to be saved from misuse by humanity.
The English view of nature prior to 1500 was theologically-based. According to scripture, God created each animal and plant to serve man and subordinate to his wishes and needs. Animals were considered to be automaton without souls, and previously wild animals had to be broken in order to use them as labor and food. Many classical scholars also taught that human beings were unique and separate from the animal kingdom. According to Aristotle, only mankind possessed reason.
The common man used religion and morality to distinguish himself from animals. Evil spirits almost always took the form of an animal, and the devil appeared as a goat. Likewise, mankind’s bodily impulses were negatively equated with animals and considered things to be subdued. Englishmen also labeled outsiders as bestial. Anyone who wasn’t Christian was considered worse than a beast and in need of civilizing. The aristocracy also put the poor into this category. However, Thomas was careful to point out that this “uncompromisingly aggressive view of man’s place in the natural world… was by no means representative of all opinion in early modern England.”
Continue reading “Man and the Natural World: A Meticulous History”