The story of King Henry VIII has been told in various forms of media throughout the years. Five of his six wives, while less so, have also had some of their tragic stories told alongside his tyrannical reign. With desired annulments and a couple of decapitations, marriage to King Henry VIII had always seemed to end in catastrophe, each of which had left the king more paranoid and angrier than the last. However, there was one woman who managed to live through and survive the horrors under his tumultuous sovereignty. That story belongs to Catherine Parr. Director Karim Aïnouz brings Parr’s story to life with conviction and style in Firebrand.
In this particular adaptation of her life with the king (Jude Law), we see that Parr (Alicia Vikander) possessed a certain strength and dedication. She spent time perfecting her craft of writing and spreading her modern religious views while ruling as regent queen when her husband went off to handle military affairs. However, Catherine’s passion for tolerance leads her down a dangerous path when she begins to make frequent visits to Anne Askew (Erin Doherty), a protestant radical who calls for the end of Henry VIII’s rule. Such an act would be treason, and should she get caught, King Henry would have no difficulty resorting to old measures.
Aïnouz’s historical/period drama is based on the 2013 novel Queen’s Gambit by Elizabeth Fremantle. It follows the life of the daring Catherine Parr, a name that everyone will know and want to know more about after watching the film. If nothing else draws you to Firebrand, see it for Vikander’s performance alone. Her interpretation of Henry’s last wife prior to his death is the strength of Aïnouz’s story. It’s the kind of deliberate storytelling that we haven’t experienced in a while in this genre. Vikander practices restraint and focuses on showing her character’s emotions with powerful silence and skillful physical movements. It’s easy to empathize with Parr because of Vikander’s ability to centralize her desire to protect her children and livelihood.
Through her subtleties, Vikander shares her character’s fears, dreams, and losses. Think of her performance as a quiet representation of “a woman scorned.” These efforts work wonders and add in layers of emotion to an already entertaining script. That very same script, however, doesn’t do justice to Vikander’s performance because she has so very little to work with as far as a backstory. Furthermore, the film itself has few locations, which oddly enough, makes it feel like we’re watching the same sequences of anguish over again. But it’s not a lack of effort from the production or costuming, as these elements stand out in more ways than one.
What Firebrand lacks in backstory and creativity is made up in entertainment. Aside from Vikander’s performance, Jude Law, who is barely recognizable as the repulsive King Henry VIII, is sensational. Their dynamic often transforms this period drama to one reminiscent of a thriller. It is full of tension, brutal occurrences, and an overwhelming feeling of discomfort, which plays into what it must have felt like in Tudor England. Dickon Hinchliffe’s music plays nicely with this increasingly agile atmosphere as well. Though it’s easy to figure out the outcome of the story, the score guides us along with tension that builds in uncertainty, adding to the overall entertainment.
Ultimately a reimagined story about one woman’s pursuit of big dreams amidst lingering threats and an abusive relationship, Firebrand is an appealing dive into the life of Katherine Parr. It’s about survival, a tale as good as any, when her back was pushed against the wall, forcing Parr to pursue desperate measures. Sure, the script takes wild liberties that bear no resemblance to historical accuracies, but with Vikander and Law leading this wonderful ensemble, it’s a rather welcomed addition that will keep your eyes glued to the screen from start to finish.
Firebrand premiered at the 2023 Cannes Film Festival on May 21. The film is 120 minutes long and not yet rated.
