"Mary, Queen of Scots" is court intrigue at its best with the titular queen at odds with her cousin, Elizabeth I, Queen of England in their bid to rule Tudor England. Redgrave and Jackson are magnificent as the two polar queens whose very lives rest on the royal actions of the other. The entire film is rich in atmosphere and scope, complemented by gorgeous scenery, costumes and an astute cast made up of classical stage veterans.
The lovely, ethereal Vanessa Redgrave teams with passion and reckless abandon as Mary Stuart who rules with her heart instead of her head, signifying her ultimate downfall. Political and morally erratic particularly in her impulsive private affairs, she finds her controversial marriages arousing the ire of both her Roman Catholic followers and the Protestants, forcing her to quell revolts from all sides. Redgrave beautifully captures the essence of a Queen willing to risk all for love.
Glenda Jackson, slightly overshadowed here by Redgrave with a lesser number of vignettes, nevertheless makes every one of them count. Crisp and fiery as the smart, able but still-tortured Elizabeth, who remains husbandless and barren, her scenes crackle with intensity as she sees how dangerous a threat Mary is to her throne, especially when the Scottish queen bears a male heir to continue the royal line she cannot.
The supporting roles are bold and colorful as well, played by an extremely talented host of classical actors. Virile Patrick McGoohan with that lovely Scottish burr expertly plays James Stewart, Mary's brother, who instigates rebellions against his sister. Nigel Davenport stands out as chief conspirator Lord Bothwell, the love of Mary's life, and their impassioned scenes together are altogether lusty and vibrant. Timothy Dalton is at his slit-eyed slimiest as Henry Stewart, Lord Darnley, the spineless husband of Mary who betrays his wife and other court subjects around him in his all-consuming bid to secure the crown for himself and his own heirs. As the man who would not be king, his comeuppance scenes are deliciously awaited for. And effete, snively, ill-fated David Rizzio, Mary's court favorite who hides behind the Queen's robe to the ire of the other courtiers, is played with great relish by Ian Holm.
This lavish costumer never falters dramatically, aided to be sure by the historical liberties it takes to heighten the narrative. In actuality, the two queens never met but with two such veteran stars as Jackson and Redgrave, the film begs for a confrontation and it delivers in spades. Their two scenes together, though fairly brief, are absolutely electric and they alone are reason enough to tune in.
Well-recommended, if not for historical value, then for sheer entertainment...especially for lovers of period drama.
The lovely, ethereal Vanessa Redgrave teams with passion and reckless abandon as Mary Stuart who rules with her heart instead of her head, signifying her ultimate downfall. Political and morally erratic particularly in her impulsive private affairs, she finds her controversial marriages arousing the ire of both her Roman Catholic followers and the Protestants, forcing her to quell revolts from all sides. Redgrave beautifully captures the essence of a Queen willing to risk all for love.
Glenda Jackson, slightly overshadowed here by Redgrave with a lesser number of vignettes, nevertheless makes every one of them count. Crisp and fiery as the smart, able but still-tortured Elizabeth, who remains husbandless and barren, her scenes crackle with intensity as she sees how dangerous a threat Mary is to her throne, especially when the Scottish queen bears a male heir to continue the royal line she cannot.
The supporting roles are bold and colorful as well, played by an extremely talented host of classical actors. Virile Patrick McGoohan with that lovely Scottish burr expertly plays James Stewart, Mary's brother, who instigates rebellions against his sister. Nigel Davenport stands out as chief conspirator Lord Bothwell, the love of Mary's life, and their impassioned scenes together are altogether lusty and vibrant. Timothy Dalton is at his slit-eyed slimiest as Henry Stewart, Lord Darnley, the spineless husband of Mary who betrays his wife and other court subjects around him in his all-consuming bid to secure the crown for himself and his own heirs. As the man who would not be king, his comeuppance scenes are deliciously awaited for. And effete, snively, ill-fated David Rizzio, Mary's court favorite who hides behind the Queen's robe to the ire of the other courtiers, is played with great relish by Ian Holm.
This lavish costumer never falters dramatically, aided to be sure by the historical liberties it takes to heighten the narrative. In actuality, the two queens never met but with two such veteran stars as Jackson and Redgrave, the film begs for a confrontation and it delivers in spades. Their two scenes together, though fairly brief, are absolutely electric and they alone are reason enough to tune in.
Well-recommended, if not for historical value, then for sheer entertainment...especially for lovers of period drama.