As a cinephile with a penchant for historical dramas and a keen interest in British history, I must say that Wolf Hall: The Mirror and The Light stands out as a remarkable piece of television artistry. Having spent countless hours immersed in documentaries, books, and other period dramas, I can attest to the fact that this series has managed to bring Hilary Mantel’s novels to life with an authenticity rarely seen on screen.
As Wolf Hall: The Mirror and The Light made its debut a month ago, there was plenty of discussion about how it distinguishes itself within the period drama genre that has recently evolved into more soap-like narratives (similar to Downton Abbey, Call the Midwife) or playfully rebellious (Bridgerton, The Great).
While the programs you mentioned are certainly commendable, it’s important to note that the BBC’s exceptional adaption of Hilary Mantel’s novels has demonstrated that there’s still value in a more classic method when telling historical stories.
In another phrasing, “The Mirror and The Light” maintains its trend-setting trajectory by crafting its series ending as a subdued and solemn event, resembling an afterword or, even more accurately, a funeral vigil.
In simpler terms, a sequence of poor decisions and unfortunate comments caught up with Thomas Cromwell (played by Mark Rylance), who had been an indispensable advisor to King Henry VIII (portrayed by Damian Lewis). This led to staged interrogations for him, culminating in his execution.
To put it simply, since the events depicted in Wolf Hall are well-known history, there isn’t much suspense or tension when watching these conversations unfold. It’s highly improbable that viewers would be on the edge of their seats, anxiously speculating if Cromwell will escape execution.
Rather than ending as a triumphant conclusion, the finale portrays a bitter critique of Henry VIII’s rule, where an unexpected change in the capricious king’s temperament could lead to the downfall of anyone unlucky enough to catch his attention at the wrong time.
Indeed, it’s worth noting that Thomas Cromwell held significant influence in executing those unpredictable commands previously, with the case of Anne Boleyn (portrayed by Claire Foy) being a prime example. Her journey to the executioner’s block bears an eerie resemblance to his own.
The disgraced nobleman can’t help but notice the similarity when he finds himself in the crosshairs of ambitious adversaries. He’s fully conscious of the dangerous situation he’s in, despite his stubborn denial of the unfounded accusations leveled against him.
Rather than finding them serious or genuine, he perceives them as laughable and even cracks a few jokes while conversing with a clever group of manipulators. Needless to say, they don’t seem to share his sense of humor.
Indeed, the ending of The Mirror and The Light offers a compelling insight: It reveals how facts can be manipulated to serve the interests of those who wield power.
It wasn’t just me who winced when Cromwell argued that weak charges against him wouldn’t hold up in a fair court, and thus, a trial wouldn’t happen. Instead, it seemed like the parliament was planning to pronounce him guilty without one.
In a similar fashion to the UK’s past administration in April, they enacted a law stating Rwanda is safe for processing asylum seekers, which contradicted a Supreme Court decision that ruled otherwise. This law was passed through Parliament.
After the nationwide election held in July, the contentious Rwanda policy was abandoned. This situation underscores that even today, in this particular country, justice can remain elusive and truth obscured – much like it was centuries ago.
For Cromwell, it’s clear that deceit and treachery would ultimately lead to his downfall. However, the portrayal of his last moments in “The Mirror and The Light” feels somewhat underwhelming, undermining the show’s intended effect of a purposeful anticlimax.
In the narrative created by screenwriter Peter Straughan and director Peter Kosminsky, Cromwell’s execution scene is reimagined as a more honorable and dignified one through a dream-like sequence.
Just as the gruesome scene unfolds, we’re transported to a beautiful, verdant abbey – a place where Cromwell once dreamt of spending his days peacefully. Yet, this idyllic setting clashes sharply with the harsh truth that confronts him now.
Nevertheless, it sits strangely with me that Cromwell’s execution – the endpoint that this story has been building towards since the very beginning – is over so quickly and, ironically, painlessly.
As a devoted admirer, I must say that the series subtly contrasts the destinies of Cromwell and Anne Boleyn, yet these portrayals on screen are as dissimilar as night and day.
Anne’s long, painful stroll towards the executioner’s platform is vividly depicted, showcasing each grim step of the chilling preparations that filled the fearful queen (superbly portrayed by Claire Foy) with a deep-rooted terror.
Undeniably, Wolf Hall presents an engaging storyline. However, its treatment of Cromwell’s equally or even more grim demise leaves us questioning a straightforward point: What was the reason for this oversight?
While I don’t feel an urgent desire to watch a graphic depiction of Anne Boleyn’s beheading on BBC One just as I’m about to sleep on a Sunday night, it does concern me that her execution might have been glamorized or fetishized in some way.
She is perhaps Henry VIII’s wife most well-known due to her dramatic demise, yet I’m not fully convinced that this warrants such extensive celebration as depicted in Wolf Hall – notably in the closing scene of season 1, as well as numerous references throughout The Mirror and The Light.
Presenting Cromwell with an image of paradise, tinged by sadness, seems to underscore the idea that Anne is a character who can endure the most tragic and sorrowful fates. However, this imagery is considered too harsh for Thomas.
It’s important to remember that both Cromwell and Boleyn had their flaws, yet they didn’t deserve to meet such brutal ends. Let’s strive to not glorify one execution at the expense of the other.
These were horrific and unjust betrayals by a mad king that history attempted to justify.
Even if we’ve grown fond of Cromwell due to Rylance’s skillful performance and his complex past, it’s important that he doesn’t receive special treatment during a portrayal of this harsh historical era that spares no detail.
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2024-12-16 02:34