Lady Jane (1986)
Review by Dindrane
Film:
DVD:

Screenplay by David Edgar
Directed by Trevor Nunn
Starring Helena Bonham-Carter and Cary Elwes

Features:

• Photo Gallery
  

Released by: Paramount
Region: 1
Rating: PG-13
Anamorphic: No

My Advice: Rent it.

Lady Jane tells the sad story of one of the shortest royal terms in history. It is 1533, and Henry VIII’s unhealthy, Protestant son has just died at 15, leaving an unclear line of succession. In order to prevent the Catholic Mary from becoming Queen, the nobles of England scheme with Lord Dudley to put Henry’s sheltered, very Protestant, 15-year-old cousin on the throne. Dudley additionally marries Jane to his son Guildford in order to further cement her legitimacy, and his own power. Mary, of course, is less than thrilled with this turn of events.

Historical purists might be irritated by the way Hollywood, as usual, plays fast and loose with history. For example, many historians believe that Jane, even at 15, as well as Guildford, were involved in the plot to prevent Mary’s ascension to the throne, not to mention not really as in love as they are portrayed here, bringing to mind the artificial romance between young King Louie and his Austrian bride in Disney’s The Three Musketeers. But be that as it may, Lady Jane is at least plausible and is everything a movie should be—thought-provoking, but also entertaining, and visually lavish.

The acting here is top-notch. Elwes and Bonham-Carter in the main roles are astounding—believable both in their initial hatred of each other, and then in their growing love and final mature passion, all in a matter of weeks, real time. Also keep an eye out for Patrick Stewart.

A special word should be said for the cinematographer and the costume designer here. While it’s not exactly difficult to make Bonham-Carter gorgeous, modern sensibilities are often less pleased with Elizabethan men’s clothing; yet, here, the men manage to look both menacing and engaging, and the whole film reeks of accuracy. The cinematographer works here to frame things so that the setting never overwhelms the action, and in a setting this opulent, that must have been quite a trial. The lighting on the doomed lovers is particularly well-done, even with this non-restored film stock.

The extras are the only thing really lacking here. A movie of this quality and historical weight could have been adorned with interviews with historians, the costumers, even the actors, but there’s nothing but a photo gallery, which is nice enough, but much less than the film deserves. Even a few sketches of from the set designer’s notebook or a timeline would have been nice.

In short, this isn’t a film just for history teachers to show their students as a break from lectures. It is a fascinating and beautifully-crafted film that should please anyone with an attention span greater than an ant’s. People who love Tudor politics or eye candy will adore this one, as will anyone who is a sucker for doomed lovers or historical romance.