Firebrand: Vikander Shines Amidst Historical Drama’s Fading Spark

The opening shot of Firebrand lingers on Alicia Vikander’s face, her eyes a storm of defiance and fear as she gazes upon Jude Law’s Henry VIII. It’s a moment that promises tension, a battle of wits between two formidable forces. But the film, directed by Brazilian filmmaker Karim Aïnouz in his first English-language feature, struggles to sustain this early intrigue.

Firebrand is the story of Katherine Parr, Henry VIII’s sixth wife, who becomes regent while the king battles abroad. When he returns, increasingly ill and paranoid, Katherine must fight for her survival. The film is based on the 2013 novel Queen by Henrietta Ashworth and Jessica Ashworth, adapted for the screen by the same authors. With a cast led by Vikander and Law, the film aims to reframe Katherine Parr as a free-thinking woman ahead of her time.

Vikander is compelling in the lead role, capturing both the intelligence and vulnerability of her character. Her performance is the film’s anchor, grounding what could have been a historically dry narrative with emotional weight. Vikander’s portrayal of Katherine is nuanced, showcasing her character’s resilience and cunning. She excels in scenes where Katherine must navigate Henry’s volatility, her quiet strength contrasting with his explosive rage.

The film’s strengths lie in its visual storytelling. The cinematography is lush, with sweeping shots of Tudor England that immerse viewers in the period. The production design is meticulous, from the opulent costumes to the lavish sets, creating an authentic atmosphere. However, these visual strengths are often let down by a pacing issue that plagues much of the film’s second half.

As Roger Ebert noted, Firebrand “eventually becomes a waiting game,” as Katherine tries to keep her schemes hidden long enough for Henry to die. This narrative stagnation undercuts the tension and makes the runtime feel longer than its two hours. The film’s first half is engaging, filled with political maneuvering and personal tension. But as the story progresses, it becomes bogged down in its own intrigue.

Jude Law’s portrayal of Henry VIII is a highlight, capturing the king’s tyrannical rage and physical decay with nuance. His performance is a masterclass in balancing menace and vulnerability, making Henry both terrifying and pitiful. Law’s physical transformation is remarkable, embodying the king’s illness and infirmity with striking realism.

Eddie Marsan and Sam Riley also deliver strong performances as Edward and Thomas Seymour, respectively, adding layers to the political intrigue. Marsan brings a quiet intensity to his role, while Riley exudes a charming yet sinister aura. However, the supporting cast often feels underutilized, with characters like Stephen Gardiner (Simon Russell Beale) and Anne Askew (Erin Doherty) given little depth or screen time.

The film’s attempt to reframe Katherine Parr as a free-thinking woman ahead of her time is admirable, but it stumbles in its execution. The historical revisionism feels at odds with the stultifying pacing, as noted by Rotten Tomatoes. The film’s aims are clear, but the delivery lacks the dynamism needed to make this reinterpretation compelling.

Where Firebrand succeeds is in its exploration of power dynamics and survival. Vikander’s performance shines brightest in scenes where Katherine must navigate Henry’s volatility. These moments are electrifying, showcasing the film’s potential. The film also delves into themes of female agency and resistance, offering a fresh perspective on a well-trodden historical narrative.

However, the film’s pacing issues cannot be overlooked. The first half of Firebrand is engaging, filled with political maneuvering and personal tension. But as the story progresses, it becomes bogged down in its own intrigue. The waiting game that Katherine must play feels drawn out, and the film’s climax lacks the impact it should have.

Comparisons to other historical dramas are inevitable. Firebrand shares some similarities with films like The Favourite and Mary Queen of Scots, but it lacks the sharp wit and relentless pacing of those films. Where The Favourite uses humor and visual flair to explore its themes, Firebrand relies too heavily on its source material, resulting in a film that feels more like an adaptation than a reinvention.

The film’s target audience is likely those with an interest in historical dramas and strong female leads. Fans of Vikander’s previous work will appreciate her performance, but the pacing issues may frustrate viewers looking for a more dynamic narrative.

Ultimately, Firebrand is a film of missed opportunities. With stronger pacing and more developed supporting characters, it could have been a standout historical drama. The performances by Vikander and Law are standout, but they are not enough to elevate the film above its structural flaws.

The film’s scorecard reveals its strengths and weaknesses clearly. In terms of craft, the film excels in its cinematography and production design, earning a 2 out of 2. However, the story falters due to pacing issues, scoring a 1.5 out of 2. The performances are strong, particularly Vikander’s and Law’s, but the underutilized supporting cast brings it down to a 1.5 out of 2. The originality is commendable, with its fresh perspective on Katherine Parr, earning a 1.5 out of 2.