ANNE OF THE THOUSAND DAYS (1969) [nom.]
dir. Charles Jarrott
writer. adapted from Maxwell Anderson's 1948 play of the same name [nom.]
Starring: Richard Burton [nom.], Geneviève Bujold [nom.], Irene Papas, John Colicos, William Squire and Anthony Quayle [nom.]
ONE SENTENCE SYNOPSIS: 1527. Henry III (Burton) is now long (unhappily married to the Spanish princess Catherine of Aragon (Papas), when at a court ball he spies across the room a new face in court, freshly return from France: the beautiful Anne Boleyn (Bujold).
THOUGHTS: initially, I was worried this would be one of those awful period melodramas, very style > substance; and I was delightfully wrong. Admittedly my trepidation was somewhat justified, the first scene has all the subtlety of an ACME anvil falling on Wile E. Coyote. Burton starring mournfully into the camera repeating nonsensical dialogue akin to "Anne. My Anne. Her name was Anne. Anne. I remember... ANNE." To the surprise of no-one that scene was not in the original play. But once Geneviève Bujold appeared... my goodness; she is DYNAMITE! Eerily similar in appearance to Judy Garland (though a better actress, and I feel like a bad homosexual saying that). She brings such determination and guts to Anne, truthfully I've never fully understood Anne Boleyn until this film (and more specifically Bujold's performance). Her scenes with Henry crackle, and I knew I was in for a treat after she doesn't flinch delivering the line "I'd ask him how his wife likes it, your grace." OHHHHH, SNAP!!! Come trough Boleyn! It's a shame she was in a very competative year for actresses (rightfully losing to Dame Maggie Smith for the Prime of Miss Jean Brodie (1969), followed closely by Jane Fonda's brilliant performance in They Shoot Horses, Don't They? (1969)). Fascinatingly the first half is almost a revenge piece; akin to the Duchess of Malfi or the Revenger's Tragedy. It's about Anne vs. Cardinal Wolsey; and she is going for blood. Anthony Quayle is excellent, treading the fine line between Machiavellian intend and steadfast loyalist to the crown. His downfall at Anne's hands is truly pitiable (though I wish the writing hadn't given Anne an 'out' for this plot; I wanted her to look Wosley in the eye as he limped and and told him where to stick his Rosary beads). And Irene Papas (who I so adored in the Guns of Navarone (1961) was perfect as the unfairly cast aside queen. She threaded that fine line between jilted wife and fierce queen. I rooted for AND ANNE, which is credit to the film, they didn't need to tear down one woman to elevate the other. The beautiful mirroring of Catherine to Anne, later mirrored in Anne to Jane Seymour was a nice touch, and there were several little (I'd say pro-feminist) nuggets in the film to enjoy. The laughter and applause when Henry publicly forces himself on a clearly unwilling Anne was very uncomfortable (and an excellent comment on the true nature of our monarch). I wish I had enough time to praise each performer, because it really is in the acting that this film shines. John Colicos' layered Cromwell, William Squire (Gandalf!!!) as the noble and shrewd Sir Thomas More, theatre god Michael Hordern's understated gravitas as Anne's father; even the young Nicola Pagett (of Upstairs, Downstairs fame) shined in her brief scene as the future queen Mary. It was a masterclass in acting across the board. The film was nominated for ten Academy Awards, right winning Best Costumes (gorgeous colours, not just "stock" Tudor silhouettes and those masks = GORGEOUS!). The only nomination it did not deserve was Best Sound. The mixing of dialogue vs music and effects was horrible, but that is my only criticism.
OVERALL
A fascinatingly layered and evocative look at Henry VIII's most shocking decision, with an absolutely stellar cast from British theatre. Geneviève Bujold is the definitive Anne Boleyn (and the only actress ever nominated for playing her). A masterclass in acting; though it could have benefited from a little more spice to the score and the overall collectiveness of the piece. Think of it as the Other Man for All Wolfhall
~ rating: 4 out of 5 [grade: A-]
FUN FACT: Rex Harrison won a Tony award for playing Henry VIII in the Broadway play of the same name
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THE SPY WHO CAME IN FROM THE COLD (1965)
dir. Martin Ritt
writer. adapted from John le Carré 1963 novel of the same name
Starring: Richard Burton [nom.], Claire Bloom, Oskar Werner, Cyril Cusack and Peter van Eyck
ONE SENTENCE SYNOPSIS: British agent Alec Leamas (Burton) has been recalled to "the Circus" by Control (Cusack) after the death of one of his operatives, to aid in a snare against an East German intelligence officer Mundt (van Eyck)
THOUGHTS: initially I wanted to watch this because like my review above, both films star Richard Burton in the lead and the criminally overlooked theatre god Michael Hordern; and then I discovered it was based on work by John le Carré and I was sold. And the opening is very reminiscent of the TV series Tinker, Tailor, Soldier, Spy. The term "slow burner" is an understatement, and after half an hour I almost turned it off forever. Luckily the next day I restarted it, and enjoyed it a lot more once I felt more comfortable with the plot. As a story is is excellent, and like the play True West, requires an almost muted first half to justify the snowball effect of the second half. I applaud the plot twists (Carré is the master, after all), and enjoyed the layered comments on cultures (be it capitalist or communist), ideals of purpose and post-war German society. This is a film you watch for enjoyment of the narrative. At first I found the placement of Leamas' girlfriend a little superfluous (I assumed it was a Hollywood addition) but I was too quick to jump the gun. In fact without her the impact of the end would be somewhat muted. Performance wise the film is very stoic, in a good way. I adored Oskar Werner's Fiedler (and he deservedly won the Golden Globe for his work). He was witty and charming, and purposeful and that underlying subtext that this is not just about patriotism but also that understandable hatred for what Mundt did during the war. It occurs to me in my review of Anna of the Thousand Days (1969), I never once commented on Burton's performance. And here... I still don't understand why he's lorded. Was he bad? No. But while Alec Guinness was compelling as the silent, reserved and controlled Smiley; Burton was just... false. His non-blinking meeting with Control, he sombre tones, hell I misinterpreted his stare down with Mundt after the trial (the only emotive moment I enjoyed) as pure hatred, not a man realising he's been played by his own side. I'm going to have be honest, I'm not sure he's deserving of 7 Oscar nominations.
OVERALL
A slow burning, merciless attack on the underlying politics and deception of the Cold War (on all sides). Once Oskar Werner enters, the film barrels along at a good pace, and the pay-off more than justifies the space and tedium of the first half. Not a patch on Tinker, Tailor, Soldier, Spy, but superior the Constant Gardener and the Tailor of Panama (which are still really good, for the record).
~ rating: 4 out of 5 [grade: B+]