“Anne of the Thousand Days” – From Throne to the Scaffold [Analysis]

Title: “Anne of the Thousand Days”

Release Date: 1969

Director: Charles Jarrott

Cast: Richard Burton, Geneviève Bujold and others

The Tudor dynasty, and especially the turbulent history of Henry VIII, has been a constant source of fascination for historical cinema for many decades. Among the films devoted to this subject, “Anne of the Thousand Days” certainly stands out – a sophisticated British production starring Geneviève Bujold and Richard Burton. Filmed in 1969, the picture still impresses with its grandeur, costumes, and faithful depiction of the era. It is also one of the best film portraits of the main character, Anne Boleyn, a woman who consciously rejected the role assigned to her. Instead of becoming another fleeting love affair of the amorous king, Boleyn decided to play a political game, shook the foundations of the entire monarchy, and paid for it with her own head.

“Anne of the Thousand Days” – British cinema in its heyday

“Anne of Thousand Days” is a movie that belongs to the genre of high-class British historical dramas that were made at the turn of the 1960s and 1970s. English studios, fueled by American budgets, produced incredibly attractive titles at the time, distinguished by their magnificent set design, attention to costumes, visual artistry, and outstanding acting. Films about the Tudor and Stuart dynasties were intended for a demanding audience, hence particular importance was attached to the script, historical accuracy, and beautiful, literary dialogue.

In addition to “Anne of the Thousand Days”, the historical series also included titles such as “A Man for All Seasons” (1966) by Fred Zinnemann, “Mary, Queen of Scots” (also directed by Charles Jarrott) and “Henry VIII and His Six Wives” (1972) by Waris Hussein. The actress who played Queen Elizabeth in the first of these films, Glenda Jackson, later created an outstanding (Emmy Award-winning) portrayal of the queen in the television miniseries “Elizabeth R”.

Contemporary TV series often return to the subject of Anne Boleyn’s marriage to the British monarch, while in cinema, the 2008 film “The Other Boleyn Girl”, with its star-studded cast, was a big hit. However, the film, starring Natalie Portman, Scarlett Johansson, and Eric Bana, presented a very one-sided image of the English ruler as a completely ruthless and heartless woman.

“Anne of the Thousand Days” – a story of passion and power

The plot of “Anne of a Thousand Days” reflects the interesting story of Henry VIII’s relationship with the beautiful Anne Boleyn, as known from historical accounts. One day, the young lady-in-waiting to the British monarch’s wife, Catherine of Aragon, catches the eye of the promiscuous king, who does everything in his power to get the girl into his bed as soon as possible. However, the clever Anne, knowing the sad story of her sister Catherine, whose romance with Henry ended with the birth of an illegitimate child and the imminent abandonment of his mistress, tries in every way to avoid a similar scenario. She does not want to be just a toy in the hands of a promiscuous man, especially since she is happily in love with a handsome young man. However, when it becomes clear that even Cardinal Thomas Wolsey (Anthony Quayle) supports the king’s nefarious intentions, Anne decides to use Henry’s passion to become the rightful queen.

When passion enters high politics, the consequences usually spiral out of control. A seemingly harmless romance, as we know, ultimately led to England’s break with the papacy and the deaths of many outstanding minds who did not succumb to the pressure of a despotic monarch, such as Sir Thomas More. In the Polish kingdom, such stories, albeit with less dramatic consequences, also occurred. Suffice it to mention the marriage of Sigismund Augustus to Barbara Radziwiłłówna, which was notorious for centuries and brought the country to the brink of civil war.

“Anne of the Thousand Days” – an outstanding cinematic portrait of Anne Boleyn

“Anne of the Thousand Days” is a movie that captivates with its epic portrayal of 16th-century England. It is difficult not to appreciate the perfectly composed frames that reflect the splendor of the British court. The vivid colors, rich decorations, and meticulously reconstructed period costumes (deservedly awarded an Oscar) are so impressive that they seem to have been taken straight out of a painting. Lavish feasts, balls, hunts, and all the official aspects of palace life are juxtaposed with the secrets hidden in the alcove. In the bright light of the flowery gardens, the characters present themselves completely differently than in the dim glow of the bedroom candles. Everything here seems to have a double face; behind the mask of courtesy, religious and patriotic platitudes lie completely human, and sometimes simply base instincts.

In the foreground, however, are the perfectly written characters. Almost every character in this drama is fascinating. Irene Papas as the betrayed and humiliated Catherine of Aragon arouses sympathy, John Colicos as the cunning and surgically precise Thomas Cromwell is terrifying, and William Squire, who plays Thomas More, conveys the dignity with which the great thinker endures his tragic fate. Most important, however, is the royal couple of the drama.

Richard Burton, extremely experienced in portraying great historical figures, rose to the challenge and was able to defend his character, who, after all, had few redeeming qualities. For centuries, historians have wondered what it was about Henry VIII that enabled him to win the hearts of young aristocratic women. The answer that points only to his wealth and absolute power is insufficient in light of what awaited almost every subsequent candidate at the end of their romantic story. Richard Burton’s English monarch is no longer in the prime of his youth, he can be cruel, selfish, and quick-tempered, but when he makes declarations of love, he is second to none. When he loves, he loves passionately and wins his chosen one in a truly royal manner. And even if his feelings are fleeting, they are a genuine promise of eternal happiness.

Geneviève Bujold, a young Canadian actress, was the perfect choice for the role of Anne Boleyn, which was originally supposed to be played by Elizabeth Taylor. Bujold not only charmed with her freshness and beauty, but also created an incredibly complex portrait of her character on screen. Before the viewer’s eyes, Anne undergoes a metamorphosis from a joyful girl interested in the pleasures of life to a seasoned political figure. She can be charmingly innocent, only to become seductive, cunning, or cruel a moment later. However, her character does not remain frozen in any of these poses, but constantly juggles between them. Until the very end, when we see her in her death cell, watching the scaffold being erected for her through the window.

When all the masks fall away, stripped of her royal tiara and purple robes, Anne proves to be, above all, a woman and a mother. In the final scenes, she takes on tragic features when, in order to preserve the throne for her daughter Elizabeth, she chooses death. Boleyn irretrievably loses her place in glorious history – her reign is limited only to the fleeting power over an unstable male heart, which is emphasized by the half-affectionate, half-ironic, and certainly meaningful title “Anne of the Thousand Days.”

Real power will only fall to her child, which is why in the finale we see a touching scene with a young girl walking alone through the royal gardens. Her long dress seems to completely overwhelm her frail, childish figure, a sign of the burden of her lineage – both a blessing and a curse that will weigh heavily on the fate of Elizabeth and her country.