THE OTHER BOLEYN GIRL

Written by Peter Morgan
Directed by Justin Chadwick
Starring Natalie Portman, Scarlett Johansson, Eric Bana, Jim Sturgess, Kristen Scott Thomas


Lady Elizabeth: Our daughters are being traded like cattle for the advancement of men.

Historically speaking, Anne Boleyn was the second wife of England’s King Henry VIII. She was instrumental in England’s political and religious upheaval that saw England ultimately break away from the Catholic Church. When Henry’s first wife was unable to produce a male heir, he began to look elsewhere. His advances toward Anne were not returned, as she did not want to chance pregnancy. Any child born before the King could annul his first marriage to Catherine of Aragon would be a bastard child and therefore not a potential heir to the throne. As if this weren’t enough drama for the Boleyn family, Anne’s sister, Mary, was also involved with the King and rumoured to have had a child he fathered prior to his involvement with Anne. Regardless of how sordid the whole affair might have been, it altered England’s history dramatically and Anne went on to become both a martyr and a feminist icon. You would think that a screenplay about both sisters’ involvement with the King by the Oscar nominated writer of THE QUEEN would be an impartial account of the period but instead, THE OTHER BOLEYN GIRL is nothing but a sexist farce that reduces both the male and female players to tired platitudes before robbing the story of all its humanity.


Men crave power and status. Women crave powerful men that they can manipulate to do their bidding. Men will essentially do anything to get into the skirt of a woman they desire and will lose their minds and capacity for rational thinking if she denies him. Women will in turn step over anyone, including their own sister, in order to bag a supposedly good man. Not only are all of these statements borderline offensive but they are also inane. There is always so much more to it than simply that. These clichés are the stuff great teen movies are made of and perhaps it was unfair of me to expect more from a costume film than insipid, nonsensical melodrama. What most undermines first time feature film director Justin Chadwick’s work is that it is amateurish and not at all convincing. Anne and Mary Boleyn (Natalie Portman and Scarlett Johansson) are introduced as loving, caring sisters. They protect each other, respect each other and love each other. Why then would I believe that either would hurt the other so maliciously? I guess because they’re girls and that’s what girls do when there is a man involved, right? Sure to stereotype both sexes fairly, the men do not escape Chadwick’s narrow view of gender definition. Am I to seriously believe the King of England (Eric Bana) would risk his throne and country’s well being just because a girl he lusts over refuses his royal wanting?


As Anne, Portman is a natural for the period but as she gets caught up in her father’s plans to have her bed the King as a means to better position her family’s standing at court, the inherent intelligence she brings to most of her roles makes it seem entirely unnatural that she would be naïve enough to play along with Daddy’s game. Johansson has never looked more drab as she stands amidst an always-overcast English countryside, her long, golden locks lying limp on her shoulders, her eyebrows almost invisible against her pale face. Though she seems to be playing catch-up to Portman’s supposed ease with the material at first, it is her poise and restraint that make for a more believable and sympathetic Boleyn. While Portman certainly masters the pain, remorse and paranoid fear necessary to convey Anne’s arch, she is incapable of escaping the same trap the entire cast falls into. Perhaps from having seen too many period pieces prior, the ensemble acts as though the events taking place are not actually happening to them as characters. Instead, they come off as amateur theatre actors caught up in the lore that comes with corsets and faked British accents.


THE OTHER BOLEYN GIRL is not all that horrible. I too find myself getting lost in the barrage of bodices. Still, marrying off your children as commodities should not be taken lightly and the knowing twinkle in these girls’ eyes gives away their modern feminist thinking, making their wily behaviour seem all the more implausible. The only thing that makes this all worse is that all this trouble comes about to please the patriarch of the Boleyn family who is nothing more than a pathetic, insecure coward.

THE QUEEN

Written by Peter Morgan
Directed by Stephen Frears

In August of 1997, Diana, the former Princess of Wales, was killed in a car accident. An international sense of grief overtook the modern world. She was charitable, a humanitarian, and a beautiful one at that. She was adored by millions for being flawed, for never rising above the level of the people or appearing entitled. She was modern royalty, a royalty that connected with the masses instead of one that looked down at its people from a pedestal. And while the families of the world grieved the loss of an icon with an outpouring of emotion, one family chose to keep the loss to themselves, a private family matter. That family was the Royal Family. Director Stephen Frears (MRS. HENDERSON PRESENTS) bravely crosses the gates of Buckingham Palace to show the millions who watched from outside what might have been going on inside during the week following Diana’s death in this intimate and delicate portrayal of THE QUEEN.

Frears shows both respect and restraint in his telling of this tale. No one character, including Diana, is over glorified, making all points of view and perspectives relevant and reasonable. For all his nobility, Frears’ directorial efforts are surpassed by a sensitive and balanced script by writer Peter Morgan (and by the delightfully enigmatic performance by Helen Mirren as The Queen, but more on that later). Morgan’s script came together from a collection of interviews and discreet contacts. The remaining details were filled in by his imagination. The result draws many lines, leaving opposing forces on each side of the gate. Two months prior to Diana’s death, Prime Minister Tony Blair (Michael Sheen) was elected to office with a landslide win. He represented the modern man and the people hoped his youth would bring England a desperate revolution. England though, will always be caught between the old and the new as long as the Monarchy exists. The Monarchy by nature cannot be modern. It is steeped in tradition, some that even the family laugh at. But though they may laugh at them, they are always upheld. What the Queen does not see coming is that her allegiance to tradition has brought her and her family so far removed from her people that they no longer understand them. As the Royal Family continued to say nothing regarding Diana’s death, the public pointed their anger for their loss directly at them, insinuating that they had no compassion, no hearts. But as much as the Queen did not consider their feelings, the people did not consider hers. Different people grieve in different fashions and Morgan’s script shows the Queen’s decision to not speak publicly about Diana’s death not as a cold decision, but one that placed her family first, especially her grandsons. The very public death was also a very private matter. The closed gate between both parties never allowed either to fully comprehend the other.


By now you have heard how good Mirren is as The Queen. Trust me, you will continue to hear this until the moment she walks up to the stage to accept her Oscar (or at the very least, a BAFTA). Mirren’s humane performance is often hilarious and always insightful. In one moment, she is sarcastically dismissing the newly elected Blair; in another she is lost but determined to understand, her eyes fixed on a television interview of Diana talking about the way the Royal Family treated her. From her side of the gate, she has given her entire life to her people; they will always love her for it and respect her decisions. Mirren’s eyes are always searching for understanding, while maintaining her dignity and exhibiting restraint. At first it seems she is searching to understand why the reaction to Diana’s death is so massive. To her, Diana had always been trouble and had brought so much shame upon her family. As her search continues though, she is striving to make sense of the disdain and contempt she feels growing in her people. It is not that she is no longer connected to them; it is just that she doesn’t see where they are coming from anymore. How could she? She knows a very different side of Diana’s story than they do. In one very simple yet overwhelming scene, The Queen gets her four-wheel drive vehicle stuck in a stream. She is alone, surrounded by nature and waiting for someone to come pick her up. In that moment, she is overtaken. She says nothing but her mind’s thoughts echo the daunting position she is in. The mother of her grandsons is dead; her people have turned on her; she is the bloody Queen of England and she is stuck in a stream! It is all too much and she bursts into tears. She is only human after all.

I must admit, I did not get swept up in the worldwide grief over Diana’s death. Of course, I saw the enormous size of it but I was just not taken in by it. Even with my detached position, it is impossible to avoid being taken in to it when watching THE QUEEN. It is also not possible to support but one side thanks to Frears and Morgan. Being placed on both sides only allows for the possibility of tapping in to both expressions of grief. The grief is only heightened by the inability for both sides to empathize with the other. There is no way to know for certain how the Royal Family actually grieved the death of Diana but when THE QUEEN impartially opens the gates that have since been closed, one might hope this telling is close to the truth, if only because this possible truth will certainly heal.