In the realm of historical dramas, “Firebrand” stands out for its audacious take on the life of Katherine Parr, the last wife of Henry VIII. While the film is a visual feast, it struggles to find its footing, leaving audiences both intrigued and bewildered. However, Jude Law’s performance as the infamous monarch is nothing short of spectacular, almost redeeming the film’s many shortcomings.
Based on Elizabeth Fremantle’s novel “Queen’s Gambit,” “Firebrand” introduces us to Katherine Parr during her tenure as regent, managing the kingdom while Henry is away at war. Alicia Vikander portrays Katherine as a fiercely independent woman, secretly aligning with heretics and revolutionaries. This portrayal, though historically dubious, adds a layer of intrigue to the narrative. Yet, the film’s execution leaves much to be desired.
Jude Law’s Henry VIII is a force of nature. His portrayal is both grandiose and grotesque, capturing the king’s volatile personality. Law’s Henry is a blend of charisma and menace, a ruler whose presence dominates every scene. The camera work accentuates this, often framing Henry in close-ups that emphasize his physical and emotional largeness. Even his infected leg, a symbol of his moral decay, is given significant screen time, adding to the character’s repulsiveness.
Director Karim Aïnouz, known for his intense melodramas, brings a raw energy to “Firebrand.” His depiction of the Tudor court is chaotic and visceral, reflecting the animalistic urges that drive human behavior. This approach, while visually arresting, often leaves the audience struggling to keep up with the plot. The film’s frenetic pace and lack of clear context make it difficult to fully engage with the story.
Alicia Vikander’s Katherine is a character in constant turmoil, but the performance feels one-dimensional. The script doesn’t allow her character to develop fully, resulting in a portrayal that lacks depth and nuance. Despite Vikander’s efforts, Katherine remains a somewhat flat character, overshadowed by the more dynamic Henry.
The film is packed with subplots and conspiracies, but they are introduced so rapidly that they fail to make a lasting impact. The narrative rushes through historical events, leaving little room for the audience to connect with the characters or understand their motivations. This hurried storytelling ultimately detracts from the film’s potential.
One of the film’s more memorable moments is a scene where Henry performs “Pastime With Good Company” on the harpsichord. This lively rendition, a nod to the real Henry VIII’s musical talents, briefly suggests that the film might embrace a more playful tone. Unfortunately, this moment of levity is fleeting, and the film quickly returns to its more serious, and often confusing, narrative.
Despite its flaws, “Firebrand” is visually stunning. The period-accurate costumes and detailed set designs transport viewers to the Tudor era. However, these visual elements can’t compensate for the film’s tonal inconsistencies and pacing issues. The movie’s attempt to balance historical drama with modern sensibilities results in a disjointed experience.
In the end, “Firebrand” is a film that doesn’t quite know what it wants to be. It oscillates between historical accuracy and creative liberties, leaving the audience unsure of what to take seriously. Jude Law’s performance is the film’s saving grace, providing a compelling portrayal of one of history’s most notorious kings. His Henry VIII is a character that commands attention, even if the film around him fails to do the same.
While “Firebrand” may not succeed as a cohesive historical drama, it offers a fascinating glimpse into the final days of Henry VIII’s reign. Jude Law’s magnetic performance is reason enough to watch, even if the film itself is a bit of a mess. For those willing to overlook its flaws, “Firebrand” provides an entertaining, if somewhat chaotic, journey through Tudor history.
