Mary Queen of Scots review: The perfect biopic for beginners

AFI Fest Review: Mary Queen of Scots

Mary Queen of Scots marks an impressive debut from director Josie Rourke telling a story that many have heard referenced but not acted out.

I’m a Tudor nerd. There I said it. Anytime a book is written about the Tudors or Stuarts I consume it. I studied the dynasty in college, and when someone confuses the Earl of Leicester with Lord Darnley, you can bet I’ll jump on them and correct this egregious slight. So, generally, when movies are made about the Tudors or Stuarts I’m usually there to watch them, with a series of book recommendations handy to help people fill in the blanks that aren’t considered sexy enough for Hollywood.

All of this is to say Josie Rourke’s feature debut, Mary Queen of Scots, had a heavy burden to carry. The story of the girl queen who Queen Elizabeth I feared so greatly as to condemn her to death is a fascinating story of gender and power dynamics. As a biopic, Mary Queen of Scots does a decent job of laying out the foundations of Mary Stuart’s importance, even if it often feels like it’s leapfrogging through history.

Saoirse Ronan stars as Mary Stuart in MARY QUEEN OF SCOTS, a Focus Features release. Photo Credit: Liam Daniel / Focus Features

Mary Queen of Scots covers the last decade in the life of Scottish Queen, Mary Stuart (Saorise Ronan). Arriving from France to the strange shores of Scotland, the young Queen butts heads with her half-brother and the men of her parliament. On the opposite end of the pond is Queen Elizabeth I (Margot Robbie) who knows of Mary’s strong claim to the throne. In an attempt to get Mary on England’s side, schemes are made that end up putting the two queens further at odds.

Small nitpicks aside, Mary Queen of Scots is certainly one of the more serious-minded biopics about the Tudor/Stuart rivalry. Rourke and screenwriter Beau Willimon forego heaving bosoms and backstabbing in favor of the societal stresses of being a female ruler. Despite their mutual calls of “sister” to each other, Mary and Elizabeth couldn’t be more different, and much of that is laid at the feet of the men around them. Mary is younger and therefore fertile, able to bear a son in contrast to the Virgin Queen herself, Elizabeth. Mary fights for her own crown, but is also willful and determined to be her own person.

Grace Molony stars as Dorothy Stafford, Margot Robbie stars as Queen Elizabeth I and Georgia Burnell as Kate Carey in MARY QUEEN OF SCOTS, a Focus Features release.Credit: Parisa Tag / Focus Features

Ronan is perfectly suited to the charming Mary, Scottish brogue aside. (Sorry, nerd quibble: Mary was raised in France so she wouldn’t have sounded Scottish. K, thanks!) Ronan’s kind smile and sparkling eyes make her the bon viant of the dour, subterranean-looking Scottish court. The film goes out of its way to present her as the supporter of all people, including gender fluid courtiers, as well as making her a sexual being. Her relationship with the foppish Lord Darnley (Jack Lowden) is particularly compelling. Rourke’s camera lays out a sex scene that is a perfect demonstration of the female gaze that, along with a birthing scene, proves why a female filmmaker was so vital for this story.

The title implies this is Mary’s story, so it’s a bit jarring how forcefully inserted Elizabeth’s story is. Robbie does a good job, particularly in all the makeup she’s given once Elizabeth contracts smallpox, but the movie doesn’t need her. There’s a desire to compare and contrast the two queens, overemphasized in cross-cutting that becomes tiresome, but without being able to explore Elizabeth’s lengthy history alongside Mary’s, she seems superfluous. It’d be to the movie’s advantage to cut Elizabeth entirely, or, like with Mary in the Cate Blanchette Elizabeth movies, make her a small figure that pops up from time to time.

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Gemma Chan stars as Bess of Hardwick in MARY QUEEN OF SCOTS, a Focus Features release.

Credit: Liam Daniel / Focus Features

Maybe the most impressive element within Mary Queen of Scots is one that will go unnoticed: color-blind casting. Gemma Chan and Adrian Lester populate the lily-white world of the Tudors, abolishing the belief that being a story is set in ye olden times that it can’t include people of color. And aside from just using them to fill the frame, they’re employed as actual supporting players. Chan’s Bess of Hardwicke is one of Elizabeth’s closest confidantes, and based on how the camera captures her, there seems to be a deeper love than friendship between them (though this isn’t The Favourite).

Elizabeth is just one of many elements that feel packed into a script trying to tell way too much history. At times the movie feels like a sausage packed with information, but missing some essential components. The relationship between Darnley and Mary is clearly defined, but Elizabeth’s relationship with Robert Leicester (Joe Alwyn) is showcased in one scene seemingly ripped from The Tudors.

(l-r) Ian Hart stars as Lord Maitland, Jack Lowden as Lord Darnley, Saoirse Ronan as Mary Stuart and James McArdle as Earl of Moray in MARY QUEEN OF SCOTS, a Focus Features release. Credit: Liam Daniel / Focus Features

Elements of the war between Scotland and England happen incredibly quickly, almost as if scenes were skipped. Later, when the two queens meet, it’s confusing why history plays out as it does because we haven’t seen Elizabeth’s side, again an element that comes from trying to tell two dense histories in one film.

Director Josie Rourke proves her mettle with Mary Queen of Scots. Those with a deep love for history won’t be 100 percent pleased, though we never expect to be. The film appears to play best with beginners and that’s fine. Ronan is by far the standout while Robbie is fine, but the movie would be far stronger without a competing narrative.