Mary Queen of Scots
4 stars
Director: Josie Rourke
Stars: Saoirse Ronan, Margot Robbie, Jack Lowden
Duration: 124 mins
Class: 15
KRS Releasing Ltd

A couple of weeks after The Favourite, a quirky look at the reign of Queen Anne, comes another worthy production taking an intimate look at the trials and tribulations of two other towering figures from British royal history.

Mary Queen of Scots (here portrayed by Saoirse Ronan) and her cousin Queen Elizabeth I (Margot Robbie).

Although rivals – by birth, Mary has a rightful claim to Elizabeth’s throne – the film shows how these titans of royalty had much in common, and that they were not always enemies.

Yet, events conspired against them, aided and abetted by the machinations of their (male) courtiers and advisers, who used lies, slander and the age-old issue of religion as wedges to drive them apart and ultimately to (spoiler alert!) Elizabeth ordering Mary’s execution in 1587.

The film is based on John Guy’s acclaimed biography Queen of Scots: The True Life of Mary Stuart, in which the author paints a different picture of his protagonist than what history has offered. 

Guy’s book is based on research that showed that Mary’s reputation over the centuries of being weak, ineffectual and sexually promiscuous was based on unfounded rumours.

It also showed that she was, in fact, not only a woman of mettle, but one who on myriad occasions sought peace with Elizabeth for the good of both nations.

Exceptional production values, detailed costume and set design, a sharp sense of time and place

Mary Queen of Scots does not have the colour, vibrance or flair of The Favourite. Yet, while falling squarely into the box marked ‘reliable period drama’ with its rigid adherence to the rules of the genre, its exceptional production values, detailed costume and set design, a sharp sense of time and place and unsurprisingly strong performances form its leading ladies, it makes for compelling viewing.

I have written enough in the past about Ronan’s gifts as an actor, so it’s not news to report that she is outstanding in the titular role. She embodies both the traits of a giggly, young, inexperienced woman (Mary was only 18 when she took up the throne in Scotland), and those of a strong-willed and intelligent sovereign.

Yes, she was prone to temper tantrums and impetuous decisions, but these were often prompted by the dogged attempts of those around her to stymie her plans in both her political and personal lives.

And, as she consistently does with every role, Ronan’s commitment is absolute, bringing out the best of this fresh historical perspective of the character.

The action flows smoothly between one court and the other, and Elizabeth’s struggles mirror Mary’s as she too is swept up in a complex and forceful tussle over politics and religion egged on by her advisers – while constantly anguishing over her inability to bear children. In her majestic costumes, fiery red hair and striking white face (a trait adopted after the queen’s bout of the pox) Robbie captures the commanding presence and crushing vulnerability of Elizabeth I with equal weight.

It is indeed a supreme pleasure watching two of today’s finest actresses effortlessly carrying the film. So much so, it is easy to overlook the film’s main shortcoming – that it is frustratingly difficult to keep track of the myriad twists and turns that come with the plot.

That said, it is a strong ensemble, including Mary’s enigmatic half-brother the Earl of Moray’s (James McArdle); her untrustworthy advisers the Earl of Bothwell (Martin Compston) and Lord Maitland (Ian Hart); her second husband, the philandering Lord Darnley (Jack Lowden); and David Tennant’s ranting John Knox, the leader of the Scottish protestants who believed a female ruler was an abhorrence while in England, Elizabeth’s closest confidant Sir William Cecil (Guy Pearce) is a strong enough influence on the English queen to make her doubt her gut instinct that Mary can be a true ally. It is also fascinating to see the events in the film in the context of the #metoo and #timesup movements – both women’s frustrating struggles to make their voices heard in that completely male-dominated world, adding both poignancy and an urgent contemporary touch to proceedings.

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