Firebrand (15)
Directed by Karim Ainouz

 
THERE have been umpteen films about Henry VIII and his reign, and several of his wives and his children, yet this is one of the first about his sixth and last spouse Katherine Parr, who cared for him during his final years and survived him. 

In director Karim Ainouz’s raw and visceral psychological period drama, she is portrayed as an intelligent, empowered, self-assured woman who wrote and published her own prayer book, clearly ahead of her time, and who acted as regent while Henry was away fighting in France. 

Based on Elizabeth Fremantle’s novel The Queen’s Gambit, Ainouz’s first English-language film is at times a visually arresting horror show, and is driven by two powerhouse performances from Alicia Vikander and Jude Law (in a career best) as Parr and Henry VIII, plus an illustrious supporting cast. 

Set around 1544, it explores the political machinations of the Tudor court as it plotted to vilify and oust Parr for treason on account of her progressive religious views.

It also examines the domestic abuse she was subjected to by a tyrannical and angry ailing husband whose legs were covered in infected ulcers which had putrefied. You can almost smell them, along with the physical discomfort of that era, and many did on set as Law asked a perfumier to concoct the odours of blood, pus and infection which he sprayed on his legs. The horrified reactions are genuine. 

Law’s Henry, who constantly refers to himself as the royal “we,” is very physical with Parr whom he constantly manhandles to assert his authority and, in one horrific scene, when he attempts to rape her. 

It was the outlawed Protestant preacher and Parr’s childhood friend, Anne Askwith, (a phenomenal Erin Doherty), who inspired Parr to pursue her religious beliefs under the King’s nose, and who tells her: “His confidence in your weakness is what keeps you safe.”

Princess Elizabeth (Junia Rees) reveals “the Queen dreamed of a land free of tyranny. She believed she could steer the Kingdom to the light.” But Henry warns her: “Don’t push too hard. I’m God’s deputy and won’t be patron to heretics.”

This is both a fascinating political thriller and an insightful study of a quietly formidable historical figure, but which is ruined by a revisionist ending in which Parr murders Henry. This wasn’t the case but sadly many may suspend their disbelief. 

In cinemas September 6.