At the beginning of historical drama Firebrand, a title explains how history often tells only of “men and war”, leaving the rest to our imagination.
Adapted from Elizabeth Freemantle’s novel The Queen’s Gambit, Firebrand offers an alternative history of Catherine Parr (Alicia Vikander), the last wife of Henry VIII (Jude Law).
Taking a hands-on role as the king’s regent, she secretly fosters ideas that are radical and against the king’s policy. Believing she can enact change from within, the risk of her actions becomes clear when Henry returns from war with growing ailments and strong paranoia.
Firebrand poses an interesting premise, but not a compelling argument. Far from the firebrand of the title, Catherine is fighting for survival as she tests the limits of what she can change. It’s an oddly passive portrait, and given that most of the story is fictional anyway you wonder why Aïnouz didn’t go for something more compelling. Many of the events of the plot merely happen to her, while the heavy dialogue slows the pace considerably.
Vikander is stoic and intelligent, introduced as a character you want to see succeed. However, she feels impotent next to Law, who has a lot more to work with. The famous heartthrob sports prosthetics and laboured breathing, in a portrayal that shows Henry’s decay. Putting a charismatic star like Law in the role shows how far Henry gave in to his excesses.
It’s loud and brash at times, but Henry’s beady eyed suspicion is what keeps Firebrand from being a series of discussions in pretty rooms. Firebrand will disappoint history buffs, who will baulk at the liberties taken. For everyone else, it’s a ho-hum Game of Thrones clone that doesn’t seem to serve a purpose.
