by Linda Fetterly Root
What Happened to Scotland in this Story?
The fast and loose historical treatment of Scottish history in the movie does not end with the queen's arrival, although many of the oversights and errors are sins of omission rather than significant deviations from the truth. For example, the Queen's arrival at Holyrood Palace was not the first meeting between Marie Stuart and her half-brother James Stewart. He had traveled to Scotland with the five year old queen in 1548 and had attended her wedding at Notre Dame de Paris on April 24, 1558, as a member of the Scottish delegation. Later when his half-sister's husband Francois II died, and Marie had despaired of husband shopping, he spent five days in closed conference with his sister with an aim to persuade her to return to Scotland on terms agreeable to the Protestant lairds rather than sailing to Glasgow where the rival Catholic faction lead by John Leslie and the Northern Catholic promised their support and a Restoration of Catholicism. By omitting the competition between the factions, the scriptwriters write Scotland and the Scottish Reformation out of the story.
While some writers suggest Marie was anxious to please her brother and not that committed to her Catholic faith, her decision was likely made to avoid escalating hostilities between the religious factions on the brink of civil war until her position could be secured. It also bought her time to establish better relations with Elizabeth and the Protestant government in England. This required a level of statecraft requiring her to balance the power of her Reformation government against that of the Northern Catholic Earls.
The political quagmire in which she found herself is reasonably accurate. She could not have achieved any degree of success without the support of her powerful brother James Stewart and Secretary William Maitland of Lethington, who Elizabeth I dubbed 'the flower of the wit of Scotland' and who had the best chance of affecting a meeting of the queens. Marie Stuart had a good sense of theatre, and she made her self visible when her subjects serenaded her on the evening of her arrival, even though she was thoroughly exhausted.
The movie accurately displays her personal charm and her popularity with the people. The Scottish court was probably not as austere as portrayed, thanks to Marie's mother Marie d' Guise, a member of the powerful House of Guise and the Queen's father James V, who had improved his southern castles to please his French-born wives. Holyrood was not at all like a chateau on the Loire, nor was it as opulent as the convent of Saint Pierre les Dames du Rheims where she spent much of her time after her husband Francois's death, but it was not a carved out bat cave as portrayed in the movie.
The confrontation between the Queen and John Knox is one of many that occurred soon after her arrival, and it is reasonably well done. Knox was one of the few people who could bring Marie to tears in a public setting. It is reasonable to believe the conduct in the queen's apartment was far too relaxed to please the Calvinist lords and clergy. The authenticity of the frolicking is documented. The scene between Marie and Knox is a reasonable portrayal of what transpired between them, enhanced by the strength of the actors. David Tenant's Knox is a good match to Ronan's Queen of Scots, but both are cinematic constructs. Knox was indeed a rabble-rouser, but he did trim his beard and behaved with some restraint when it behooved him. As for other members of the Scottish powers of the time, I find the lumping together of bitter enemies such as William Maitland and his arch-enemy James Douglas, Earl of Morton, an offense to most Scots.
Switching mid-scene from the Scottish to the English court may seem awkward to the general audience, but allows for parallel glimpses of Elizabeth and Marie and is easy for the experienced Marian historian to follow. The influence of William Cecil on Elizabeth's actions and in engineering the execution of her cousin is underplayed but present. Elizabeth and Leicester provide the only viable romance in the story. The killing of Davie Rizzio places the wrong people present but does display Darnley's complicity and Marie's shock and horror. But from that point to the death of the Queen of Scots many of the most poignant pieces of 16th Century Scottish history are omitted in favor of dwelling upon a dialogue between principals that is unnecessary to the plot. The details of Darnley's murder, two military confrontations between the Marians and the Rebels who base their legitimacy on the pretext of avenging the infant prince James, and ensuing Douglas Wars are excised to allow screen time for a fabricated meeting of the queens.
The political climate and factionalism that resulted in Marie Stuart's death require at least some attention to the circumstances of her flight from Scotland after two military confrontations --the first in 1567 at Carberry Hill, and the second, at the Battle of Langside following nearly a year of incarceration and a miscarriage at Lochleven Castle. Unfortunately, omitting them leaves the viewer with little understanding of Marie's abdication in the late summer of 1567 or her flight to England after Langside. Her abrupt fall from favor of her people after Darnley's death, the controversy over the marriage to Bothwell and the dynamic of their relationship are all left out of the story, when in many respects, they are the story.
Also, we are left knowing that Darnley was a drunken rake, which is accurate, but the impression that Marie despaired of her marriage because of his possible sexual relationship with Davie Rizzio, perverts the story. The queen who once sought to wed the mentally deranged and homicidal Don Carlos would not have dumped Darnley for a homosexual encounter with her favorite. She dumped him because he was conspiring with her enemies with an eye to seizing the Scottish throne in a coup. The Scots would have overlooked Darnley's faults if he had been malleable and controllable. What finished Darnley was his intriguing with the militant Catholic factions in Europe when Marie refused to convey a grant of the crown matrimonial to her increasingly dissipated and probably syphilitic spouse. What killed him was his thirst for power and his unsuitability to wield it. If truth be told, Bothwell did not fare much better. For those who controlled the infant king, Marie as a widow was easier to manipulate, at least until Bothwell made his move. But the film wastes no time on Bothwell or explaining who he was, nor does it allude to the many months of her imprisonment at Loch Leven while the queen reflected on her fall from grace. After fleeing the battle at Langside without a definitive defeat, Marie Stuart refused to risk another imprisonment like the one she had escaped. She believed Elizabeth would place their positions as sister monarchs above their politics, a decision that spelled her doom.
Minor Issues:
For acting, the movie gets a five-star review based on the performances of actors Saoirse Ronan and Margot Robbie as the queens, with strong support from Guy Pearce as Elizabeth's minister William Cecil, David Tennant as a sufficiently odious Knox, and Ishmael Cruz Cordova as Davie Rizzio, the queen's lutenist and correspondence secretary. The casting has raised an issue in some quarters as to how far filmmakers should go to achieve ethnic diversity. I applaud the concept when it is done without adversely affecting historical authenticity. The major complaint seems to focus on the casting of Adrian Lester, a Jamaican, as ambassador to Scotland, Sir Thomas Randolph, who historically had an affair with Marie Beaton, one of the Scottish Queen's Four Maries. Both queens were offended and worked together to solve the problem. Elizabeth had him recalled and sent to Russia to the court of Ivan the Terrible. Beaton was quickly married off to one of Marie Stuart's lesser courtiers. Sir Thomas Randolph did not return to Scotland until James VI began his personal rule in the mid-1570s. I do not see the distinguished Shakespearean actor Lester's presence in the film as an issue. Audiences are aware they are attending a display of Twenty-First Century cinematic art.
CONCLUSION:
A viewer with a keen eye to what it is and is not and able to sympathize with the filmmakers acknowledgment of ethnic diversity and political correctness by making Elizabeth Tudor's ambassador to Scotland a man of color, and framing the story as a feminist dialogue between two powerful women, neither of whom were feminists, and finally, by realizing that the principal force at play in the plot--Reformation Scotland--is omitted altogether, then by all means enjoy the scenery and the costuming and the stagecraft. The movie is well worth the price of the ticket and the time.
Visitors to my post who are familiar with my studies of the life and times of the Queen of Scots and who know my interest in all things associated with Marie Stuart have asked some penetrating questions about the film. One is whether Marie Stuart was progressive and tolerant of religions other than her own, as depicted in the film. My answer has to be, no. Her last words, as translated from the letter she wrote to her brother in law, Henri III, King of France, paints her as being strong in her Catholic Faith and in the legitimacy of her claim to the English throne. Her actions in her later years indicate she was willing to endorse a regicide to achieve a Restoration of Catholicism.
However tolerant she chose to be during her years of personal rule and during her almost twenty years of imprisonment in England, the Queen of Scots still prayed for a Catholic Restoration in Scotland, if possible, with herself holding the scepter, and if that could not be affected, with it in the hand of James. If her acts sometimes masked that purpose, I believe it to be more a matter of timing than one of tolerance. She had, however, learned some temperance of her Stuart impetuousness as she aged, and was careful not to endorse lost causes. Early in her life, she watched the slaughter of Huguenots at Amboise with reluctance. During her own personal rule, she witnessed the execution of the heir to the Huntly earldom and the desecration of his father George Gordon, Earl of Huntly's body after the battle of Corriche Burn, a striking down of one of the principal Northern Catholic Earls. In that battle, she rode beside her protestant champions, her brother James Stewart, soon to be declared Earl of Moray, and a longtime knight-at-arms Sir William Kirkcaldy of Grange. That did not make her a champion of Protestantism or a warrior queen, and she lost nights of sleep because of it. She was compelled to mask her Catholicism in dealing with Elizabeth at first, but when their meeting never happened, and Elizabeth sought an English marriage for her defiant cousin--one that would guarantee an English succession to the Scottish throne, Marie Stuart continued to hope for the Catholic powers of Europe to come to her rescue before the English prevailed. These were not fly-by-night episodes of wishful thinking. Her nephew Francis Stewart, 5th Earl of Bothwell and the exiled Northern Catholic Earls vigorously campaigned for such an outcome in France, Spain and the Hapsburg Netherlands.
What Marie did not appreciate, and she was not alone in her miscalculation, was the atmosphere of change rising on the Continent, especially in what is now knows as the EightyYears War. The volatile developments in France during the Religious Wars and the rise of independence in the Low Countries made an invasion in Britain less likely with every passing year. Whether it was frustration with her son's politics, her continuing restricted freedoms or natural aging, the Queen's discretion failed her with the Babington Plot and unfounded hints of support from Hapsburg Spain. In essence, she deceived herself in looking to France and Spain for a military solution.
A second question I have been asked concerns her relationship with Darnley and whether Elizabeth was behind his trip to Scotland. Evidence on that score supports the idea that the Queen was infatuated with Darnley when she maneuvered a meeting when she was visiting Weymms Castle in Fifeshire. They had probably met earlier in France when Francois II died, but it was a state visit of no consequence. At the time, Marie was husband shopping, and the English had suggested Leicester, who Marie found beneath her station. Darnley, however, was another great-grandchild of Henry VII, a bonafide Tudor, son of Lady Margaret Douglas, Countess of Lennox, Marie's Aunt. As a couple, they would have a double claim to the English throne. Add to that the fact he was taller than she, well-mannered when it suited him, and an elegant dancer.
No matter how much Elizabeth might have savored placing a rake-like Darnley in her rival's bedchamber, it is disingenuous to think she would have hatched a plot against her own throne. I do, however, suspect Margaret Douglas was delighted to send her mollycoddled son Henry Stuart (Darnley) to Scotland to join his father. Elizabeth probably had her own suspicions about her Cousin Margaret's motives and sent her to the Tower. By the time of the marriage, Marie was viewing Darley somewhat more objectively but proceeded with the wedding. When we recall her earlier hopes of marriage to insane Don Carlos because of his pedigree, it is not hard to imagine the Queen of Scots going forward with marriage to a rakish man with a claim to the English throne equal to her own. Guy's book and lectures pinpoint that decision as her downfall, which is not quite so evident in the movie. In essence, there was more to Marie Stuart's destruction than her rivalry with her cousin. The tragedy was her reliance on Elizabeth on saving her crown.
Those who have seen the film often ask if the Queen of Scots considered Elizabeth her inferior, as indicated in the dialog of their non-existent meeting. The answer, of course, is yes. She was born to a station Elizabeth had struggled to attain and fought to keep. In Marie Stuart's mind, only God could create a queen. And Marie Stuart's God was Catholic. In the long view, it is hard to determine which of the queens won. Marie Stuart has the larger tomb, but Elizabeth has an age named in her honor, and the many European monarchs who have a Stuart in their ancestry also have a Tudor in the shadows. The most notable among them are buried in the Henry VII Chapel.
In closing, I thoroughly enjoyed the movie and will no doubt acquire a copy when it becomes available. I grew up wishing I had been Elizabeth and only marginally familiar with the Queen of Scots. That all changed when I read Antonia Fraser's book, but it was John Guy who gave me the Marie Stuart of my novels. I am a member of the Marie Stuart Society and venerate her memory, but I do not consider her a warrior queen. Nor do I not consider myself a militant feminist, but a vocal feminist when it comes to social causes. To me, the contrast between the queens in Marie Stuart's story highlights the feminist dilemma presented to competent women in a world controlled by men. Perhaps neither of the cousins was truly free. Perhaps that is the true story of the Queen of Scots, and if so, it gives the film its modern significance as a story which remains a work-in-progress.
RECOMMENDATION: See the movie for its elegance, but also read John Guy's book. I make the same suggestion to Professor Guy, not entirely in jest. I am thoroughly enjoying his 2016 biography ELIZABETH The Later Years, and he remains my favorite historian.
At the end of Part One of my review of the Queen of Scots Movie, Marie Stuart, Queen of Scots and Dowager Queen Consort of France, has arrived at Holyrood Palace, ready to assume personal rule. According to legend, in spite of the ordeals of her North Sea Crossing, she stays awake into the night, waving to the crowd assembled below her window as they serenaded their young queen. It could have been a great triumph had it ended there.
What Happened to Scotland in this Story?
The fast and loose historical treatment of Scottish history in the movie does not end with the queen's arrival, although many of the oversights and errors are sins of omission rather than significant deviations from the truth. For example, the Queen's arrival at Holyrood Palace was not the first meeting between Marie Stuart and her half-brother James Stewart. He had traveled to Scotland with the five year old queen in 1548 and had attended her wedding at Notre Dame de Paris on April 24, 1558, as a member of the Scottish delegation. Later when his half-sister's husband Francois II died, and Marie had despaired of husband shopping, he spent five days in closed conference with his sister with an aim to persuade her to return to Scotland on terms agreeable to the Protestant lairds rather than sailing to Glasgow where the rival Catholic faction lead by John Leslie and the Northern Catholic promised their support and a Restoration of Catholicism. By omitting the competition between the factions, the scriptwriters write Scotland and the Scottish Reformation out of the story.
While some writers suggest Marie was anxious to please her brother and not that committed to her Catholic faith, her decision was likely made to avoid escalating hostilities between the religious factions on the brink of civil war until her position could be secured. It also bought her time to establish better relations with Elizabeth and the Protestant government in England. This required a level of statecraft requiring her to balance the power of her Reformation government against that of the Northern Catholic Earls.
 |
| James Stewart, Earl of Moray |
The political quagmire in which she found herself is reasonably accurate. She could not have achieved any degree of success without the support of her powerful brother James Stewart and Secretary William Maitland of Lethington, who Elizabeth I dubbed 'the flower of the wit of Scotland' and who had the best chance of affecting a meeting of the queens. Marie Stuart had a good sense of theatre, and she made her self visible when her subjects serenaded her on the evening of her arrival, even though she was thoroughly exhausted.
The movie accurately displays her personal charm and her popularity with the people. The Scottish court was probably not as austere as portrayed, thanks to Marie's mother Marie d' Guise, a member of the powerful House of Guise and the Queen's father James V, who had improved his southern castles to please his French-born wives. Holyrood was not at all like a chateau on the Loire, nor was it as opulent as the convent of Saint Pierre les Dames du Rheims where she spent much of her time after her husband Francois's death, but it was not a carved out bat cave as portrayed in the movie.
The confrontation between the Queen and John Knox is one of many that occurred soon after her arrival, and it is reasonably well done. Knox was one of the few people who could bring Marie to tears in a public setting. It is reasonable to believe the conduct in the queen's apartment was far too relaxed to please the Calvinist lords and clergy. The authenticity of the frolicking is documented. The scene between Marie and Knox is a reasonable portrayal of what transpired between them, enhanced by the strength of the actors. David Tenant's Knox is a good match to Ronan's Queen of Scots, but both are cinematic constructs. Knox was indeed a rabble-rouser, but he did trim his beard and behaved with some restraint when it behooved him. As for other members of the Scottish powers of the time, I find the lumping together of bitter enemies such as William Maitland and his arch-enemy James Douglas, Earl of Morton, an offense to most Scots.
Switching mid-scene from the Scottish to the English court may seem awkward to the general audience, but allows for parallel glimpses of Elizabeth and Marie and is easy for the experienced Marian historian to follow. The influence of William Cecil on Elizabeth's actions and in engineering the execution of her cousin is underplayed but present. Elizabeth and Leicester provide the only viable romance in the story. The killing of Davie Rizzio places the wrong people present but does display Darnley's complicity and Marie's shock and horror. But from that point to the death of the Queen of Scots many of the most poignant pieces of 16th Century Scottish history are omitted in favor of dwelling upon a dialogue between principals that is unnecessary to the plot. The details of Darnley's murder, two military confrontations between the Marians and the Rebels who base their legitimacy on the pretext of avenging the infant prince James, and ensuing Douglas Wars are excised to allow screen time for a fabricated meeting of the queens.
The political climate and factionalism that resulted in Marie Stuart's death require at least some attention to the circumstances of her flight from Scotland after two military confrontations --the first in 1567 at Carberry Hill, and the second, at the Battle of Langside following nearly a year of incarceration and a miscarriage at Lochleven Castle. Unfortunately, omitting them leaves the viewer with little understanding of Marie's abdication in the late summer of 1567 or her flight to England after Langside. Her abrupt fall from favor of her people after Darnley's death, the controversy over the marriage to Bothwell and the dynamic of their relationship are all left out of the story, when in many respects, they are the story.
Also, we are left knowing that Darnley was a drunken rake, which is accurate, but the impression that Marie despaired of her marriage because of his possible sexual relationship with Davie Rizzio, perverts the story. The queen who once sought to wed the mentally deranged and homicidal Don Carlos would not have dumped Darnley for a homosexual encounter with her favorite. She dumped him because he was conspiring with her enemies with an eye to seizing the Scottish throne in a coup. The Scots would have overlooked Darnley's faults if he had been malleable and controllable. What finished Darnley was his intriguing with the militant Catholic factions in Europe when Marie refused to convey a grant of the crown matrimonial to her increasingly dissipated and probably syphilitic spouse. What killed him was his thirst for power and his unsuitability to wield it. If truth be told, Bothwell did not fare much better. For those who controlled the infant king, Marie as a widow was easier to manipulate, at least until Bothwell made his move. But the film wastes no time on Bothwell or explaining who he was, nor does it allude to the many months of her imprisonment at Loch Leven while the queen reflected on her fall from grace. After fleeing the battle at Langside without a definitive defeat, Marie Stuart refused to risk another imprisonment like the one she had escaped. She believed Elizabeth would place their positions as sister monarchs above their politics, a decision that spelled her doom.
Minor Issues:
For acting, the movie gets a five-star review based on the performances of actors Saoirse Ronan and Margot Robbie as the queens, with strong support from Guy Pearce as Elizabeth's minister William Cecil, David Tennant as a sufficiently odious Knox, and Ishmael Cruz Cordova as Davie Rizzio, the queen's lutenist and correspondence secretary. The casting has raised an issue in some quarters as to how far filmmakers should go to achieve ethnic diversity. I applaud the concept when it is done without adversely affecting historical authenticity. The major complaint seems to focus on the casting of Adrian Lester, a Jamaican, as ambassador to Scotland, Sir Thomas Randolph, who historically had an affair with Marie Beaton, one of the Scottish Queen's Four Maries. Both queens were offended and worked together to solve the problem. Elizabeth had him recalled and sent to Russia to the court of Ivan the Terrible. Beaton was quickly married off to one of Marie Stuart's lesser courtiers. Sir Thomas Randolph did not return to Scotland until James VI began his personal rule in the mid-1570s. I do not see the distinguished Shakespearean actor Lester's presence in the film as an issue. Audiences are aware they are attending a display of Twenty-First Century cinematic art.
CONCLUSION:
A viewer with a keen eye to what it is and is not and able to sympathize with the filmmakers acknowledgment of ethnic diversity and political correctness by making Elizabeth Tudor's ambassador to Scotland a man of color, and framing the story as a feminist dialogue between two powerful women, neither of whom were feminists, and finally, by realizing that the principal force at play in the plot--Reformation Scotland--is omitted altogether, then by all means enjoy the scenery and the costuming and the stagecraft. The movie is well worth the price of the ticket and the time.
Visitors to my post who are familiar with my studies of the life and times of the Queen of Scots and who know my interest in all things associated with Marie Stuart have asked some penetrating questions about the film. One is whether Marie Stuart was progressive and tolerant of religions other than her own, as depicted in the film. My answer has to be, no. Her last words, as translated from the letter she wrote to her brother in law, Henri III, King of France, paints her as being strong in her Catholic Faith and in the legitimacy of her claim to the English throne. Her actions in her later years indicate she was willing to endorse a regicide to achieve a Restoration of Catholicism.
However tolerant she chose to be during her years of personal rule and during her almost twenty years of imprisonment in England, the Queen of Scots still prayed for a Catholic Restoration in Scotland, if possible, with herself holding the scepter, and if that could not be affected, with it in the hand of James. If her acts sometimes masked that purpose, I believe it to be more a matter of timing than one of tolerance. She had, however, learned some temperance of her Stuart impetuousness as she aged, and was careful not to endorse lost causes. Early in her life, she watched the slaughter of Huguenots at Amboise with reluctance. During her own personal rule, she witnessed the execution of the heir to the Huntly earldom and the desecration of his father George Gordon, Earl of Huntly's body after the battle of Corriche Burn, a striking down of one of the principal Northern Catholic Earls. In that battle, she rode beside her protestant champions, her brother James Stewart, soon to be declared Earl of Moray, and a longtime knight-at-arms Sir William Kirkcaldy of Grange. That did not make her a champion of Protestantism or a warrior queen, and she lost nights of sleep because of it. She was compelled to mask her Catholicism in dealing with Elizabeth at first, but when their meeting never happened, and Elizabeth sought an English marriage for her defiant cousin--one that would guarantee an English succession to the Scottish throne, Marie Stuart continued to hope for the Catholic powers of Europe to come to her rescue before the English prevailed. These were not fly-by-night episodes of wishful thinking. Her nephew Francis Stewart, 5th Earl of Bothwell and the exiled Northern Catholic Earls vigorously campaigned for such an outcome in France, Spain and the Hapsburg Netherlands.
What Marie did not appreciate, and she was not alone in her miscalculation, was the atmosphere of change rising on the Continent, especially in what is now knows as the EightyYears War. The volatile developments in France during the Religious Wars and the rise of independence in the Low Countries made an invasion in Britain less likely with every passing year. Whether it was frustration with her son's politics, her continuing restricted freedoms or natural aging, the Queen's discretion failed her with the Babington Plot and unfounded hints of support from Hapsburg Spain. In essence, she deceived herself in looking to France and Spain for a military solution.
A second question I have been asked concerns her relationship with Darnley and whether Elizabeth was behind his trip to Scotland. Evidence on that score supports the idea that the Queen was infatuated with Darnley when she maneuvered a meeting when she was visiting Weymms Castle in Fifeshire. They had probably met earlier in France when Francois II died, but it was a state visit of no consequence. At the time, Marie was husband shopping, and the English had suggested Leicester, who Marie found beneath her station. Darnley, however, was another great-grandchild of Henry VII, a bonafide Tudor, son of Lady Margaret Douglas, Countess of Lennox, Marie's Aunt. As a couple, they would have a double claim to the English throne. Add to that the fact he was taller than she, well-mannered when it suited him, and an elegant dancer.
Those who have seen the film often ask if the Queen of Scots considered Elizabeth her inferior, as indicated in the dialog of their non-existent meeting. The answer, of course, is yes. She was born to a station Elizabeth had struggled to attain and fought to keep. In Marie Stuart's mind, only God could create a queen. And Marie Stuart's God was Catholic. In the long view, it is hard to determine which of the queens won. Marie Stuart has the larger tomb, but Elizabeth has an age named in her honor, and the many European monarchs who have a Stuart in their ancestry also have a Tudor in the shadows. The most notable among them are buried in the Henry VII Chapel.
In closing, I thoroughly enjoyed the movie and will no doubt acquire a copy when it becomes available. I grew up wishing I had been Elizabeth and only marginally familiar with the Queen of Scots. That all changed when I read Antonia Fraser's book, but it was John Guy who gave me the Marie Stuart of my novels. I am a member of the Marie Stuart Society and venerate her memory, but I do not consider her a warrior queen. Nor do I not consider myself a militant feminist, but a vocal feminist when it comes to social causes. To me, the contrast between the queens in Marie Stuart's story highlights the feminist dilemma presented to competent women in a world controlled by men. Perhaps neither of the cousins was truly free. Perhaps that is the true story of the Queen of Scots, and if so, it gives the film its modern significance as a story which remains a work-in-progress.
RECOMMENDATION: See the movie for its elegance, but also read John Guy's book. I make the same suggestion to Professor Guy, not entirely in jest. I am thoroughly enjoying his 2016 biography ELIZABETH The Later Years, and he remains my favorite historian.
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