As I delved deeper into the world of “Firebrand,” I found myself captivated not only by the cinematic magic that Karim Aïnouz and Alicia Vikander brought to life, but also by the intriguing story of Catherine Parr. Her life, as portrayed in this film, is a testament to the strength and resilience of women throughout history.
For quite some time, various playwrights, ranging from Shakespeare to the Carry On team, have vividly portrayed the tale of King Henry VIII. Yet, a significant part of his life that hasn’t received much attention until now is its conclusion.
Though tales of Anne Boleyn and Jane Seymour are frequently recounted, the life and era of Catherine Parr, who was Henry VIII’s sixth and last wife, have not received as much attention in narratives.
However, such a situation might alter due to the debut of the latest movie titled “Firebrand,” now screening in British theaters. Notably, it stars Academy Award-winning Swedish actress Alicia Vikander, who assumes the lead role alongside Jude Law’s portrayal of Henry VIII, remarkably convincing in his grotesque depiction.
She expresses her curiosity by saying, “I was really eager to see how this mix would turn out, given that he’s embracing such a quintessentially British historical aspect, but with his vibrant, charismatic, Brazilian-Latino personality, which is evident in both him personally and his films.”
Her shared status as an outsider to British history made Aïnouz even more appealing for the project, and this common ground was a significant part of their initial conversations.
As a passionate movie enthusiast, I can’t help but ponder over what the final cut of that masterpiece could have looked like if it were crafted by British creative minds instead. Despite my eagerness to delve deep into its origins, there remains a tantalizing mystery about how different the film might have been.
She admits that what we discussed earlier was initially part of our initial dialogue, during which we both expressed our limited knowledge. However, our determination to accurately portray this historical event became evident as we decided to thoroughly research and study it before moving forward with the film production. In other words, we wanted to be well-informed so that our choices would be deliberate and true to history.
If the Swedish history had been more deeply ingrained in me through my school years, I might have carried a similar sense of burden and silent obligation to approach history in a particular manner.
In my perspective, omitting the usual approach significantly enriched our creative journey. I believe it steered us towards uncharted territories as we crafted this cinematic tale.
The movie leads audiences along intriguing routes, often departing from what history has documented, doing so multiple times during its duration.
In the final sequence of the movie, a unique perspective on certain occurrences is presented, leaving us wondering about Vikander’s thoughts regarding some of those decisions. How does she feel about them?
She notes that it was intriguing since, in truth, those sections and instances within the movie where the narrative delves into theories or speculations are equally uncertain, as there’s no historical evidence to confirm exactly what occurred at those points.
“It’s astounding to discover that historical events from 500 years ago, as presented in our books or discussed by knowledgeable people, are often grounded in specific facts but require historians to incorporate some degree of imaginative interpretation.”
Beyond Aïnouz’s participation, one significant factor drawing Vikander to the project was the fact that Jude Law had already been cast as Henry VIII. She regards him as an exceptional actor, expressing her belief that he would bring something fresh and remarkable to the role.
As a devoted admirer, I can’t help but cherish the moment when I reflect upon one of my early significant roles – portraying Kitty in Joe Wright’s 2012 adaptation of Anna Karenina. Keira Knightley graced the screen as Anna Karenina, while our paths crossed as Alexei Alexandrovich Karenin, a role masterfully played by Mr. Tom Hiddleston.
She mentions that they’ve only crossed paths for short periods throughout the years, yet it’s still been an amazing experience – she has fond memories from their time working together, as she reminisces.
In the same space with them, Keira Knightley and another actor, were individuals I found hard to fathom, and we had an extended rehearsal phase. To my surprise, they turned out to be the most proficient and kindest individuals I’ve ever encountered.
They noticed individuals who seemed unfamiliar within the space, an occurrence that may not be etched in their memory, yet for the novice in such a setting, it alters the entire experience.
On this occasion, she and Law spent several days working alongside each other, exploring new perspectives on Henry and Catherine’s relationship. They delved more extensively into their household setup compared to past adaptations.
However, one part of Law’s preparation method stands out distinctly – it even caused some hilarity on set at a later stage.
Vikander shares that the character he’s playing has a perfume maker based in London who frequently develops scents for his roles. Intriguingly, this person even crafted a “Catherine” scent for him, which featured lavender and had an appealing aroma compared to the others.
However, he additionally requested a peculiar favor from the perfume maker, asking him to create an aroma reminiscent of… well, his leg ulcer – that is, the raw wound, the pus, the blood, and the foul odor. Indeed, it was truly revolting!
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She goes on to say: “It’s intriguing when a scent triggers an involuntary physical reaction of gagging in people. In one instance during a scene, Karim, who was fond of that container, began spraying the smell around… He found delight in watching everyone succumb, and all of a sudden we noticed something sway.”
In simpler terms, “The person operating the camera seemed to understand the intensity of the scene, so it’s not surprising that he didn’t want to mess up the shot. After all, everyone else was putting in their best effort. Suddenly, he stumbled and fell to the ground.”
The fragrance could be considered the most striking, yet it wasn’t the only method; those working on the film’s creation made numerous efforts to ensure the overall experience felt genuinely representative of that time period.
In the filming location, there were numerous advisers present, some of whom had spent up to half a year living like Tudors. These experts shared their knowledge across multiple fields.
Vikander notes, “Costume dramas often hold a distinctly formal and somewhat rigid feel, reminiscent of the Victorian era and the British Empire.”
After encountering the Tudor specialists, they shared some intriguing details with you, such as: ‘Actually, it’s quite different! Here, food is eaten with hands. They sang in this manner. Defecation was handled like so. The priest would emphasize the importance of rigorous sexual activities for a strong offspring.’
“Indeed, the demeanor of the royal court from that era is quite distinct compared to what we might expect around 250 or 300 years later.”
One significant factor that made the filming process feel truly engaging was the choice to film entirely on-site at Haddon Hall, a picturesque countryside estate close to Bakewell in Derbyshire. This historic location has been utilized for various film and television productions throughout the years, such as The Princess Bride and the 2005 adaptation of Pride and Prejudice.
Instead of the usual trailers parked outside, Vikander and Law’s dressing rooms were located in the basement, which added an unusual touch to the production and made the shoot particularly noteworthy.
She notes that it’s particularly beneficial when one has a 360-degree perspective, and even more so when one attempts to deceive oneself into believing they’re stepping back in time to a specific location.
“So many films have shot there because it’s one of the few places where film crews are allowed, where they actually can do 360 sets. And that was very much how Karim liked to work – with the smells, where there was, like, food on set, the animals, the children, you know. So, to have that little bit of magic when you step on set.”
Without a doubt, beyond all the technical elements, one significant factor that makes the film stand out is its focus on solidifying Catherine Parr’s historical significance. As Henry VIII’s sixth and surviving wife, Parr plays a pivotal role in British history. Both Vikander and Aïnouz recognized that she has not always received her due recognition in historical accounts, which is why they chose to bring her story to the forefront.
Initially, Vikander thought her lack of knowledge about Parr’s life could be due to being an outsider in the UK. However, she discovered that even her British friends and acquaintances shared this ignorance.
She remarks, “That period appears to leave one cynical, given its hardships. It feels as though every day brought more tragedy – another figure fell, another life was lost.”
“It became clear to everyone then, as we could only imagine their perspectives, standing there. The emotional depth of being in those rooms, being a woman during that era, seemed incredibly challenging to fathom.”
As she delved into history books and interacted with historians, Vikander soon discovered that everyone seemed deeply respectful towards this woman. She found out that although she didn’t have any biological children, she served as an exceptional maternal figure to Elizabeth I, and despite holding some contentious beliefs, she was also a devoted Christian.
“For many years, she was married to this man. Not only did she survive their union, but remarkably, she also penned her thoughts and became the first woman in British history to publish under her own name.”
She notes: “A significant point in my preparation stood out for me when I heard many remarkable stories about her. However, as I’m playing a character, it was only after reading some of the texts she’s written that I discovered elements and subtleties of a woman who referred to others as ‘petty’, spoke of herself being close to God, and may have believed she should have the privilege to spend large amounts on luxury items.”
It struck me as quite extraordinary to establish such a bond through written words with a woman who lived half a millennium ago. The thought spontaneously crossed my mind: “Which is the oldest female-authored work I have encountered?”
“An interesting discovery I made was that most texts older than 500 years lack a female perspective, which I had never encountered before. This realization in itself was quite impactful.”
As for enjoying the movie, Vikander’s initial desire is that viewers find pleasure in following the narrative. Yet, she also harbors an aspiration that it might shed light on Catherine Parr, and possibly inspire some spectators to embark on a comparable journey of exploration, similar to her own experience.
She admits, “I found myself almost ashamed that I knew little about this woman and her achievements.” Upon reading the script, “I ended up spending several hours scouring Wikipedia and various online sources, trying to grasp the question: ‘How is it possible that I know nothing?'”
“It’d be great if I could delve deeper into the subject. If by chance someone else felt the same way about exploring more after watching the movie, that would be wonderful.”
Firebrand is playing now in UK cinemas.
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2024-09-06 17:04