Divorced, beheaded, died. Divorced, beheaded, survived. This English nursery rhyme, synonymous with Henry VIII’s rule and the fate of his six wives, has undoubtedly been ingrained in many a child’s memory. And while there have been numerous big- and small-screen takes on the infamous Tudor dynasty, it’s less common for the spotlight to fall on the fascinating lives of his fateful wives.
Enter director Karim Aïnouz’s Firebrand, an adaptation of Elizabeth Fremantle’s novel Queen’s Gambit, a feminist take on this tumultuous and bloody slice of British history. Yet, despite the promise of a film which plays in the sandbox of Tudor history — à la the musical Six — this political drama is a disappointing and muddled take.
“History tells us a few things, mostly about men and war,” the opening titles inform us. “For the rest of humanity, we must draw our own, often wild,...
Enter director Karim Aïnouz’s Firebrand, an adaptation of Elizabeth Fremantle’s novel Queen’s Gambit, a feminist take on this tumultuous and bloody slice of British history. Yet, despite the promise of a film which plays in the sandbox of Tudor history — à la the musical Six — this political drama is a disappointing and muddled take.
“History tells us a few things, mostly about men and war,” the opening titles inform us. “For the rest of humanity, we must draw our own, often wild,...
- 9/9/2024
- by Nicola Austin
- Empire - Movies
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