Friday, BBC2, 12:05pm
Josie Rourke’s Mary Queen of Scots (2018) plunges us into the treacherous political waters of the 16th century, where monarchs are as vulnerable as their most precarious alliances. While the film boasts a sumptuous visual recreation of Tudor and Stuart England and Scotland, it does take a few historical liberties, particularly in its depiction of a fateful (and fictional) meeting between Mary Stuart (Saoirse Ronan) and Elizabeth I (Margot Robbie). The pair, although entwined by blood and destiny, never actually met face-to-face. Rourke’s cinematic choice is forgivable, however, given the sheer dramatic weight of these two powerhouse performances. It may not be fact, but it’s certainly captivating fiction.
The film’s score, composed by Max Richter, beautifully underscores the emotional and political turbulence, blending orchestral grandeur with moments of haunting minimalism. Richter’s signature fusion of classical and electronic elements lends the film a modern yet timeless resonance, giving the historical drama an ethereal, almost otherworldly quality. The soundtrack perfectly complements the duality at the heart of Mary and Elizabeth's rivalry—two women ruling in a man’s world, both isolated and yearning for connection, if not power.
Though it might occasionally frustrate the historians among us, Mary Queen of Scots offers a fascinating, emotionally rich take on one of history’s most complex rivalries. The lush landscapes and intricate costumes are a feast for the eyes, but it’s Richter’s music that lingers in the mind, much like the tragic legacy of Mary herself. If only the film were as precise with its historical timeline as it is with its soundtrack.
Tom Hanson