Firelit effigies: Thomas Imbach’s ‘Mary Queen of Scots’ (2013)

Standard

1

In exploring the mindset of a figure clouded by legend, this Swiss-made retelling has a beautiful atmosphere. It uses shore, mountain and forest to depict Mary’s psychological terrain; puppet effigies twitch in firelight with folk-ritual precision, and Elizabeth is a constant presence, never made flesh – she is paint or puppet or a glimpse of doppelganger.

2

Central to the story is Mary’s court musician and advisor Rizzio. With shades of Hamlet’s ghost, he lends another layer of tragedy to a treatment based on Stefan Zweig’s Maria Stuart with its key notes of suffering and fallibility.

3

There are beautiful sequences of Scottish landscape which the director captured himself (though most of the filming was in Switzerland).

5a

As Mary narrates the letters she writes to Elizabeth, it’s a deathly, rough-hewn and unresponsive backdrop. At her moments of dislocation, the camera flees wraith-like over sea-washed shores or broken forest paths.

7a

5c

5b

Camille Rutherford captures Mary’s isolation,┬ábesieged as a powerful woman, long before she is imprisoned by the English queen, with a grace that captures both youth and regality. It’s a stark, European perspective which shuns Hollywood excess, with a layer of modernity that lies with ease.

7

6

Many sequences foretell a life of imprisonment, with gunmetal-grey lattice and winter’s branches, failing winter light and a cooling sun.

9

8

The years as a prisoner are beautifully distilled to a vision of purgatory: a crown woven with the fabric of her being, stained like Lady Macbeth.

12

Mary Queen of Scots is a film that haunts and ebbs and flows. It’s not going to appeal to anyone seeking a history lesson, either gritty or lavish: it’s a theatrical, dramatic sequence of legendary events filtered through a poetic vision of inner life.

It’s released on Region 2 DVD now and also on Amazon Instant Video.

Advertisements