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In many interpretations of her story, Mary Queen of Scots was a woman who wanted power and love and ended up with neither. And although this tragedy played out on one of the largest stages of the 16th century, her story is often relegated to the footnotes under that of Queen Elizabeth I, her cousin and professional nemesis, who's been portrayed in movies by a royal line of actresses including Bette Davis , Judi Dench , Helen Mirren , Vanessa Redgrave and Cate Blanchett . Yet while cinema has not been as kind to Queen Elizabeth I’s younger cousin, first-time director Josie Rourke ’s "Mary Queen of Scots" reimagines the northern queen’s demise as one caused not by her ambitions but by the treacherous men who lied to her and about her.

This time, Mary is brought to the big screen as a headstrong leader played by Saoirse Ronan . The actress follows in the footsteps of Redgrave and Katharine Hepburn , both of whom performed the role of the doomed monarch with fatalistic grace. In movies, as in life, these versions of Mary show her as a devout Catholic whose rule was challenged by the men around her—like those on her council, her second and third husbands and even the men outside her castle. However, much of the movie is dedicated to Mary’s attempts at becoming the successor to the English throne by Queen Elizabeth I ( Margot Robbie ).

Yet for all her tenacity, Mary never gains the full loyalty of her people for various reasons, including her religion, her French first husband, her subsequent marriages and other rumors of infidelity. A Trump-like Protestant preacher John Knox ( David Tennant ) regularly speaks out against her, and his misinformation campaign eventually convinces her subjects to disown her. Coupled with her disastrous marriage and several more betrayals of trust, the queen is forced to abdicate the throne, leading her to an untimely fate.

Rourke, who comes to the film industry from the theater, has an eye for pageantry and staging that make even dull conversations about power struggles feel lively. John Mathieson ’s oil painting-like cinematography plays well with the regal costumes of Alexandra Byrne , who’s known mostly for her work on several Marvel movies. Byrne’s outfits are color-coded to enhance the differences between the stiff-collared English court and the dark ruggedness of their Scottish counterparts. Through Mathieson’s lens and the film’s detailed production design, we see Mary as the moon to Elizabeth’s sun. Mary’s windowless court feels cold, damp and isolating. To the south, Elizabeth seeks her counsel’s approval in a sunny stone hall where a wooden table and benches, as if united together against Mary’s power grabs.

However, the movie is not without its flaws. There are a number of overextended reaction shots to the ladies-in-waiting of both camps, causing unintentionally awkward pauses in the action. In these moments, the ladies don’t do much except stare at the queens as they act out or cry, but why aren’t we watching the queens during these moments? The cynical part of me worries that this may have been a creative choice to emphasize the diversity of the supporting cast, which is great but shouldn’t come at the expense of the movie’s craft. The actors are better served when given something to say or do, like the candid scene when Mary is talking to her ladies-in-waiting about what it’s like to be with a man or when she confronts her fiddler, David Rizzio ( Ismael Cruz Córdova ), for betraying her.

Poor Margot Robbie is not the fairest queen in the movie. The actress is saddled with a heavy prosthetic nose and pox marks for what may be the least glamorous cinematic interpretation of Elizabeth I. Despite the film’s bid for authenticity, no other extra or supporting character has anywhere near a grizzled visage as Elizabeth, making Robbie’s face an anomaly. Robbie, however, plays the paranoid and tortured queen well, using a tense, nervous energy against Ronan’s cool and cutting performance.

There are many reasons why Elizabeth I’s reign overshadows Mary’s story: Elizabeth avoided taking a husband, which helped cement her power while Mary’s many partners cost her her reputation; Elizabeth also survived the political maneuvering, illness and even her cousin’s attempt to form a rebellion against her while Mary lost many times over in her life. “House of Cards” showrunner Beau Willimon draws out every possible bit of historical intrigue from the saga, shifting power dynamics and backroom deals in his script and giving Mary’s story a faint pop feminist twist. Mary is now the queen who leaned in and lost. The movie becomes a story of two leaders bound by sovereign duty, hindered by their gender, pitted against one another for the crown and want of children. It doesn’t always work, but the film makes for an entertaining argument to reevaluate the legacy of Mary Queen of Scots, beyond the time-worn focus on her tragedy .

Monica Castillo

Monica Castillo is a critic, journalist, programmer, and curator based in New York City. She is the Senior Film Programmer at the Jacob Burns Film Center and a contributor to RogerEbert.com .

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Film Credits

Mary Queen of Scots (2018)

125 minutes

Saoirse Ronan as Mary Stuart

Margot Robbie as Queen Elizabeth I

Jack Lowden as Lord Darnley

Joe Alwyn as Robert Dudley

David Tennant as John Knox

Guy Pearce as William Cecil

Gemma Chan as Bess of Hardwick

Ian Hart as Lord Maitland

Maria Dragus as Mary Fleming

James McArdle as Earl of Moray

Josie Rourke

Writer (based on the book "Queen of Scots: The True Life of Mary Stuart" by)

Beau Willimon

Cinematographer

John Mathieson
Chris Dickens
Max Richter

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‘Mary Queen of Scots’ Review: Sexy, Spirited and Almost Convincing

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By A.O. Scott

Dec. 6, 2018

Is there room for two queens on a single island? In a single movie? The answers, according to “Mary Queen of Scots,” are “not quite” and “almost.” The monarchs in question are Mary, played by Saoirse Ronan, and her cousin Elizabeth I, played by Margot Robbie. The history books cast them as bitter rivals, but the film imagines them as long-distance frenemies.

Flashing back from the moment of Mary’s execution in 1587 to her arrival on a Scottish beach more than a quarter-century earlier, the director, Josie Rourke, and the screenwriter, Beau Willimon ( “House of Cards” ), conjure parallel courts in which the monarchs are sometimes pawns of entrenched male power. Mary, already a widow and still in her teens, alights from France as an avatar of worldliness and modernity in a rugged, clannish country. Her dresses bring a splash of bright color into the dark, brooding atmosphere, much as her temperament flavors the dreary affairs of state with wit and charisma. (The costume designer is Alexandra Byrne, who won an Oscar for her work on “Elizabeth: The Golden Age.” )

Meanwhile, in England, Elizabeth, a virgin for whom a politically suitable husband can’t be found, dwells in a prison of pageantry and high pomp. Her clothes, hair and makeup are more lavish than Mary’s — Elizabeth’s kingdom is an expanding empire — and her freedom of action more severely constrained. The two rulers, both fairly young when the story begins, are joined by blood and separated by religion. Elizabeth, daughter of Henry VIII, is Protestant while her cousin, once married to the King of France, is Catholic.

[ A conversation with the stars of the movie. ]

This creates a set of conflicts between them and ample opportunities for treachery among their subjects. Each queen is, to some degree, a pawn, manipulated by opportunistic courtiers and politicians who proclaim loyalty to the sovereigns they seek to undermine. No man is entirely trustworthy. Ostensibly loyal ambassadors pursue their own agendas. Suitors, lovers and ministers of state prove less than reliable.

Even Mary’s beloved older brother, James (James McArdle), is capable of betrayal. She doesn’t always realize how much danger she is in. Elizabeth, for her part, enjoys more security, but at the price of her happiness and autonomy. As Mary thrives and tests the limits of her independence, surrounded by affectionate ladies in waiting, Elizabeth becomes increasingly brittle and remote, alienated from her own affections and encased in elaborate costumes.

The narrow question that drives the plot has to do with the coexistence of two countries with overlapping royal lines. An heir to Mary’s throne might also claim Elizabeth’s, and Mary herself is seen as a threat to her cousin’s position. History has generally treated Mary as a villain, and “Mary Queen of Scots” seeks both to revise this judgment and to examine its sources in misogyny, nationalism and bigotry.

Its case in her defense is somewhat persuasive and enjoyably anachronistic. At times, Mary’s declarations of tolerance — for foreigners, sexual nonconformists and freethinkers — sound a bit too closely tailored to 21st-century sensibilities, but the overall picture of a fractious and diverse 16th-century Britain also serves as a corrective to tidy, traditional views of the past.

There is a welcome wildness to some of Rourke and Willimon’s revisionism. Students of Scottish history may be surprised to learn that the fate of the nation was partly decided by an act of cunnilingus. In most other ways, the man who performs it, Mary’s future husband, Lord Darnley (Jack Lowden), disappoints her, but there is enlightenment as well as pleasure to be found in the full and complicated sexuality of the film’s characters, including David Rizzio (Ismael Cruz Cordova), a musician who is part of Mary’s inner circle.

Not that sex can be separated from politics. As Mary’s ambitions become more apparent, John Knox (David Tennant), a powerful Protestant preacher, excoriates her from the pulpit in language that links her power with sexual wantonness. Mary’s body, like Elizabeth’s, is a symbol and vessel of the nation’s integrity, and therefore it isn’t entirely hers. The tragic implications of that fact, and of her rebellion against it, are what hold “Mary Queen of Scots” together, giving it a political sharpness that goes beyond the usual costume-drama murmurings.

That coherence, and the contrast between Robbie’s spooky, mannered performance and Ronan’s spirited openness , make the movie consistently interesting even if it’s not always convincing. It looks beautiful and moves swiftly but never quite takes full imaginative flight.

Part of the problem is that the script’s ideas about gender and power can seem simple and schematic, resting on notions of women’s natural solidarity and compassion that European history doesn’t quite support. The supposition seems to be that the two queens would have been natural allies — and England and Scotland might have settled their differences — if it weren’t for all the meddlesome men in their doublets and beards.

At the same time, in order to rehabilitate Mary, the filmmakers are driven to humiliate Elizabeth, who is a neurotic, indecisive introvert in contrast to her vivacious, outgoing cousin. The possibility that Elizabeth could have been a shrewd and ruthless political player in her own right — a Machiavellian prince rather than a cursed fairy tale princess — is ruled out.

No doubt the usual pedantic fact-checking will follow the release of “Mary Queen of Scots.” I have neither the expertise nor the temperament for such an exercise, and I admire the audacity and intelligence of the performers and the filmmakers in pursuing a vigorous and provocative historical fiction, even one that doesn’t entirely work.

Mary Queen of Scots Rated R. Royal sex, royal blood. Running time: 2 hours 4 minutes.

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Mary Queen of Scots review – Saoirse Ronan rules over political drama

A note-perfect performance from the three-time Oscar nominee charges a darkly compelling, if factually questionable, 16th-century retelling

T here are two differently mounted yet thematically similar films arriving this awards season that focus on female monarchs and how their relationships with other women led to profound change. In Yorgos Lanthimos’s bawdy, brutal comedy The Favourite , the mental state of Queen Anne is weaponised by two women vying for her affections and, in turn, increased power in both her palace and the country. In Josie Rourke’s far more conventional, yet slickly entertaining Mary Queen of Scots, we see how the titular character clashes with Queen Elizabeth for control with the fates of many hanging in the balance. Tonally and visually, the two couldn’t be more different yet they both contain familiar observations about the swift sadism of life at the very top and how so much of the tension between these women was orchestrated by the men around them.

While the life of Queen Anne has historically received minimal screen time, the more obviously cinematic dynamic between Mary and Elizabeth has inspired a number of retellings. We’ve seen Katharine Hepburn, Vanessa Redgrave and Samantha Morton play Mary while Glenda Jackson, Helen Mirren and Cate Blanchett have taken on Elizabeth, film-makers ever-fascinated by the difficult bond shared by the pair. Arguably it’s a tale that’s probably been told enough but there’s something undeniably tantalising about the idea of House of Cards developer Beau Willimon bringing his brand of murky corridor scheming to 16th-century politics. As with his Netflix show, there’s both a tight grasp of devilish powerplay and a slight over-reliance on soapy theatrics although the balance here mostly works. Think of it as more season one than season six.

After spending most of her childhood in France, Mary (Saoirse Ronan) is arriving back to Scotland as an 18-year-old widow. There are concerns about her reappearance from half-brother, and temporary ruler, James (James McArdle) and Protestant cleric John Knox (David Tennant). Her Catholicism is instantly divisive as is her unwillingness to be spoken down to by the men who are beneath her. Her arrival also ruffles feathers in England and pits her against her cousin Elizabeth (Margot Robbie) who, without child, is being pressured to name an heir. Mary sees herself as the instant candidate with Elizabeth in hushed agreement but those that circle the two queens fear for the future and start to plot, setting off a chain of events that threatens to destroy the two women.

The machinations of those who dominated the period might be familiar to many but Rourke and Willimon have crafted a juicy, darkly compelling drama that offers a sleek alternative to what’s come before. It’s hardly revolutionary or particularly revisionist but there’s enough here to make it feel like a worthy endeavour nonetheless. Rourke, the Donmar’s artistic director, has a great deal of experience with stage productions yet Mary Queen of Scots marks her film debut. Stage-to-screen transitions can often be patchy but Rourke makes for an accomplished film-maker, artfully crafting some stunning imagery and pacing her story like a thriller. But while she manages to turn a supporting character’s murder into one of the year’s most haunting, horrifying death scenes, she’s less adept at turning an extraneous, messily choreographed battle scene into anything remotely thrilling.

For the most part, Willimon does a nifty job at condensing a whole lot of information into what feels like a swift, two-hour running time. Historians have already labelled the film problematic from Mary’s Scottish accent (apparently it was French) to the film’s dramatic in-person confrontation between the two queens (apparently it never happened). But your annoyance with these deviations will depend on how you view the gap between history and historical drama and while there are some embellishments, they’re embellishments that have been added to previous adaptations and the primary facts appear relatively untainted, the truth shocking enough to propel the plot by itself.

The film’s most thrilling pleasure is a show-stopping lead performance from Ronan, who at 24 is quickly becoming one of the industry’s most consistently impressive young actors. After her sparky Oscar-nominated turn as a Greta Gerwig conduit in Lady Bird, she’s note-perfect as Mary: vulnerable, terrifying, strong, sexy and effortlessly dominant when taking charge of the men who are trying to outsmart her. It is an astonishingly confident and committed turn and, in a just year, she’d be showered with more awards attention. There is also a rare reminder of just how young Mary was, along with so many other monarchs of the past, and there’s a clandestine silliness to some of the scenes of her with her handmaidens, cannily conveying a side often underexplored.

Down in England however, things aren’t quite so successful. Much has already been made of Robbie’s transformation from one of the most desirable women in Hollywood to a queen ravaged by smallpox and reported jealousy of those she deemed more attractive. Yet Robbie, a skilled actor capable of illuminating lesser films such as Focus and Suicide Squad, never really convinces with the accent or the appearance and one can almost feel her focusing on both so much that she forgets to add much else to the role. It’s a glaring miscast that means one side of the film is always lacking, and given how many superior Elizabeths we’ve seen on big and small screens, it is the film’s biggest stumble. Yet Ronan dominates, both with screen time and presence and their much-discussed scene together does wield some power, despite some unnecessary visual trickery.

In a busy awards season and with a strangely late festival bow, it is possible that Mary Queen of Scots, and Ronan’s killer lead performance, might get unfairly overlooked. It would be a shame as it is a finely constructed drama, avoiding stuffiness without slipping into camp territory and while diehard historians might disapprove, everyone else will be supremely entertained.

Mary Queen of Scots was showing at the AFI festival and will be released in the US on 7 December and in the UK on 18 January

Saoirse Ronan
First look review
Margot Robbie
David Tennant

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Mary Queen of Scots Reviews

Dramatic license is so much a given that discussions of authenticity are as damned as they are damning.

Full Review | Nov 8, 2023

“Mary Queen of Scots” could've at least been an average, or even above average effort to explore a history that is so often misconstrued. Instead, both women are done a disservice in a more modern way...

Full Review | Original Score: D | Dec 19, 2022

Willimon and Rourke focus on issues of gender and sexuality in fascinating ways, although it is sometimes jarring to see Mary as a paragon of contemporary tolerance.

Full Review | Dec 7, 2022

This is Ronan’s film and her performance is stellar. Far from being merely a villain or a rebel, her Mary is an independent woman full of life whose belief system is more aligned to women of today.

Full Review | May 20, 2022

Drains the material of its dramatic potential by placing far too much emphasis on the dry political machinations of both Mary and Elizabeth.

Full Review | Original Score: 2.5/4 | Mar 4, 2022

It's certainly not perfect - Robbie borders on caricature at times - but it brings to new life (in vibrant technicolour) a story that has previously felt exhausted and overdone.

Full Review | Original Score: 4/5 | Sep 1, 2021

This meditation on femininity and power, sexuality and independence, solidarity and rivalry, was directed by Josie Rourke, a woman - and it (...) shows.

Full Review | Original Score: 4/5 | Jul 30, 2021

Mary Queen of Scots earns points for its compelling story and actors who know how to play their parts to the utmost.

Full Review | Apr 14, 2021

Too hung up on the present to focus on the past.

Full Review | Original Score: 2/5 | Mar 24, 2021

Rourke's movie, while not the worst, is generally flat and mediocre. It reduces a deeply dramatic story to the small change of the director's attitude toward gender and personal relationships.

Full Review | Feb 17, 2021

It's too bad the narrative machinations bog down what otherwise is a fine tale of political manoeuvring.

Full Review | Original Score: 2.5/5 | Feb 3, 2021

[Saoirse Ronan's] presence on screen is illuminating; you can't help but root for her ruthlessness and anger at the injustice of her downfall.

Full Review | Jan 29, 2021

Mary Queen of Scots is a courageous true story that shines a light on our darkest abilities, all the while showing us a small sliver of hope in the end, just enough to make us feel the blunt of its intent.

Full Review | Nov 10, 2020

[Director Josie Rourle] arrives with an incredibly emotive debut using material many already feel all too familiar with, granting these annals of history a glorious immediacy which few have ever been able to conjure.

Full Review | Original Score: 3.5/5 | Oct 31, 2020

As many people have pointed out, this film is certainly not historically accurate so if you're the kind of person who needs that you'd leave feeling disappointed.

Full Review | Original Score: 3/5 | Oct 19, 2020

It is a handsome, yet frivolous, period drama told through a sharp modern gaze that greatly benefits from a number of strong performances from across its very talented cast.

Full Review | Original Score: 3/5 | Aug 28, 2020

It's melodramatic and unashamedly fictionalised, but it's also a joy to watch.

Full Review | Original Score: 4/5 | Aug 14, 2020

The final result is a mishmash of introspective themes that the picture fails to juggle, and . . . Rourke's direction doesn't liven much up.

Full Review | Original Score: 2.5/5 | Jul 25, 2020

It's downright tragic. And this makes it ripe for these two great performers to dig into and make great, even if the material isn't always.

Full Review | Original Score: 2.5/4 | Jul 7, 2020

Director Rourke makes entertaining something that could've been tedious. [Full review in Spanish]

Full Review | Jul 7, 2020

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‘mary queen of scots’: film review | afi 2018.

Saoirse Ronan stars in the titular role and Margot Robbie plays Queen Elizabeth in Josie Rourke's 'Mary Queen of Scots,' written by Beau Willimon and premiering at AFI Fest.

By Todd McCarthy

Todd McCarthy

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Beau Willimon hopscotches from a fictional house of cards to an historical game of thrones in Mary Queen of Scots , a spirited feminist take on the oft-dramatized tug-of-war between two 16 th century British queens. For nearly 500 years, writers have conveniently ignored the fact that the two cousins never actually met in order to deliver the longed-for dramatic goods and Willimon is no exception, as he and first-time director Josie Rourke stir the juicy royal rivalry while also playing up their female solidarity in the face of male power plays and religious shenanigans.

Saoirse Ronan and Margot Robbie shine in this exceedingly of-the-political-moment telling of a compelling story, which will compete with the more outrageous and unruly The Favourite for the favors of year-end viewers hot for unbound ruling class yarns.

Release date: Dec 07, 2018

The ultimately sorry and tragic tale of these two smart women, both of whom had plausible if problematic claims on the English throne, has been put on screens big and small a number of times, most famously in 1936 with Katharine Hepburn starring as Mary of Scotland for director John Ford, with Florence Eldridge as Elizabeth; in Mary, Queen of Scots, with Vanessa Redgrave and Glenda Jackson pairing off for director Charles Jarrott in 1971; and in 2007 when Cate Blanchett and Samantha Morton teamed for director Shekhar Kapur in Elizabeth: The Golden Age. Little seen was a 2013 Mary Queen of Scots by Swiss director Thomas Imbach with Camille Rutherford in the title role.

In addition to providing ripe roles for the two lead actresses, the new film serves as the big-screen directorial debut for Rourke, the artistic director of London’s renowned Donmar Warehouse theater company. Further luster is provided by its source material, John Guy’s Queen of Scots: The True Life of Mary Stuart , which won the 2004 Whitbread Prize for biography, and cinematographer John Mathieson, who shot five films in a row for Ridley Scott beginning with Gladiator and acquits himself on the same level here .

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Movie review: 'mary queen of scots'.

Bob Mondello

In the lush historical tragedy, Mary Queen of Scots, Saoirse Ronan and Margot Robbie play the title character, and her cousin and nemesis Queen Elizabeth.

NPR transcripts are created on a rush deadline by an NPR contractor. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR’s programming is the audio record.

Film Review: Saoirse Ronan in ‘Mary Queen of Scots’

Saoirse Ronan and Margot Robbie play rival queens in an overloaded costume drama that tries to pack a TV season’s worth of intrigue into two hours.

By Peter Debruge

Peter Debruge

Chief Film Critic

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By any account, death by beheading is a horrible way to go. For Mary Stuart, it was an especially grisly affair, requiring three good whacks of the ax to decapitate a woman who, to her perpetual unhappiness, had as much a claim to England’s throne as her cousin, Queen Elizabeth. Like an entire season of peak television crammed into the space of two hours, “Mary Queen of Scots” spares us not only the butchery but also a great deal of the drama that might explain how the misfortunate monarch came to find her neck on the line.

And yet, the dream casting of peerless Irish-American actress Saoirse Ronan in the title role (her first time playing so far back from the 20th century) ought to be reason enough to justify another look at Mary’s torrid early years, when she returned from France following the death of her first husband and juggled a handful of suitors in an attempt to better position herself as a challenger to Elizabeth’s rule. In the past, Mary has been frequently depicted as a sexually liberated and/or promiscuous character, her three marriages — and the tragic fates that befell each of those spouses — serving as fertile material for hotblooded screenwriters to exploit.

By contrast, it’s as if director Josie Rourke — a veteran stage maven who takes to the big screen as if she were born for it — were determined to restore some dignity to one of history’s most misunderstood women (two, if you count Margot Robbie ’s Elizabeth I), which is no small task at a moment in which audiences typically expect more sensational depictions of royal intrigue, such as The CW’s relatively soapy “Reign.” Rourke presents a woman who had little time for erotic frivolity, surrounded as she was by men determined to usurp her power.

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In that respect, Mary shared many of the same frustrations as Elizabeth, who famously embraced her own virginity as a shield from those who might try to woo or wed her for their own advantage. Both were formidable characters, whether judged by today’s standards or those of the 16th century, and yet each new telling of their lives reveals more about the times in which it’s presented than whatever so-called fresh intelligence it claims to have concerning the era in question.

With its strong emphasis on institutionalized sexism, Rourke’s film feels well suited to the #MeToo moment, contrasting Mary and Elizabeth’s far different strategies for maintaining what each believed to be her God-given legacy. They had diverging views of God as well: Elizabeth sided with Protestantism, while Mary returned from France following the death of her first husband to discover her Catholicism was violently opposed by the parties with closest ties to the throne.

Packed with plot twists and palace intrigue, the screenplay was adapted from British historian John Guy’s “Queen of Scots: The True Life of Mary Stuart” by political obsessive Beau Willimon, creator of “House of Cards,” a show whose conspiratorial backstabbing often feel better matched to ancient Rome — or Elizabethan England. Here, he’s free to examine how that dynamic might have created a state of constant paranoia for a pair of queens tasked with leading countries that stuffed their court with men — including in some cases blood relatives, like Mary’s half-brother, the Earl of Moray (James McArdle) — who pose as advisers while seeking to undermine them.

Had the royal bloodline not pitted them against each other, Mary and Elizabeth might have been allies with much to commiserate about; instead they found themselves doubting one another’s intentions at every turn. In theory, that makes for enticing drama, although with Mary in various somber-looking Scottish castles (none of which make her second-place-queen title seem all that glamorous) and Elizabeth back in London, their long-distance rivalry poses a particular challenge to the filmmakers: How to create the sense of heated competition when their only means of communication is by letter or personal envoy? The result is something like one of those chess games played by mail, wherein each side has weeks to wait between moves, and it’s no wonder that Willimon took the liberty of inventing a pivotal scene in which the two come face-to-face.

Pushing back against her theatrical roots, Rourke — who, as artistic director of London’s Donmar Warehouse, has experimented with a handful of live cinema broadcasts of high-profile plays — reaches for all manner of creative cinematic solutions, some more successful than others. Rather than wasting time watching characters recite colorful dialogue on well-dressed stages, she pares back the chitchat and goes looking for opportunities to take her cameras outside. Just as regal in either context, Ronan comes across poised and assertive before her skeptical subjects — like a 21st-century CEO forced to prove herself to a chauvinist staff, or a woman director surrounded by a crew of macho guys.

The frequent views of unspoiled Scottish scenery work to keep things visually interesting but can make the Cliffs Notes history confusing for audiences struggling to keep the characters straight. When obliged to deal with indoor business, Rourke rejects standard coverage, alternating between mid-shots and striking wides, some almost painterly in their composition. The cumulative effect is much closer to the bold style of Shekhar Kapur’s “Elizabeth” than to a more traditional “Masterpiece Theatre” production, although such choices can be distracting from the already dense plot. By the final half-hour, double crosses are coming at such a dizzying pace that it’s virtually impossible for the movie to sustain a coherent narrative rhythm, making the entire construct of royal succession feel absurd.

Though the ensemble is peppered with familiar faces — including David Tennant and Guy Pearce as expert manipulators, each working on a different queen — casting was done with a modern sense of colorblindness, making room for nonwhite actors such as Gemma Chan (“Crazy Rich Asians”) and Adrian Lester (who has played “Othello” onstage) to lend their talents to the mix. Also cutting edge is the inclusion of several homoerotic threads, most notably the portrayal of Mary’s inner-circle adviser Rizzio (Ismael Cruz Cordova) as an openly gay man allowed to mingle among her chambermaids — and later, to seduce her second husband, Lord Darnley (Jack Lowden), with disastrous consequences for all.

From the opening scene, which forebodes Mary’s demise, audiences know where her fate is headed, though the other betrayals are played like the bloody reckonings of a “Game of Thrones”-style series, minus most of the character-building connective tissue that makes us care. The movie exculpates Mary from the worst of these while treating the hardening of Elizabeth — one that Robbie convincingly evolves from beautiful and eligible young queen to pox-scarred sovereign, governed by distrust and independence — as the true tragedy.

Reviewed at Wilshire Screening Room, Los Angeles, Nov. 6, 2018. MPAA Rating: R. Running time: 124 MIN.

Production: A Focus Features release and presentation, in association with Perfect World Pictures. Producers: Tim Bevan, Eric Fellner, Debra Hayward. Executive producers: Amelia Granger, Liza Chasin, Kate Pakenham. Co-producer: Jane Robertson.
Crew: Director: Josie Rourke. Screenplay: Beau Willimon, based on the book “Queen of Scots: The True Life of Mary Stuart” by Dr. John Guy. Camera (color, widescreen): John Mathieson. Editor: Chris Dickens. Music: Max Richter.
With: Saoirse Ronan, Margot Robbie, Jack Lowden , Joe Alwyn, David Tennant, Guy Pearce, Gemma Chan, Martin Compston, Ismael Cruz Cordova, Brendan Coyle, Ian Hart, Adrian Lester, James McArdle.

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‘Mary Queen of Scots’ Review: Saoirse Ronan & Margot Robbie Shine Despite a Slow Start

It takes a while for Josie Rourke’s feature debut to get going, but in the end it makes a very strong impression.

Sometimes it’s easier to see and understand current truths through the lens of history, and that’s one of Mary Queen of Scots ’ greatest assets. It’s far from a home run with some major snags including pacing and emotional detachment at the beginning of the movie, but the film still manages to resonate as a story about a woman of great power fighting to lead amongst men.

Saoirse Ronan stars as Mary Stuart. When Mary does not remarry after the passing of her husband, King Francis II, she leaves France and returns home to Scotland to reclaim the throne. As a devout Catholic, Mary’s homecoming further stirs the hostility between the Catholic and Protestant factions in Scotland, and also ignites a power struggle between Mary and England’s Protestant Queen, Elizabeth I ( Margot Robbie ), who’s deeply concerned about Mary’s claim to the throne.

Mary Queen of Scots is largely about Mary Stuart’s journey and, as usual, Ronan is absolutely flawless in the role, but the movie doesn’t really come to life until Mary’s marriage to Lord Darnley ( Jack Lowden ) turns sour, as that specific event adds some especially interesting and dynamic layers to Mary and Elizabeth’s relationship. Unfortunately though, that doesn’t happen until roughly midway through the film. The information conveyed and the experiences shared before that are vital to both Mary and Elizabeth’s arc and what proves to be a very powerful finish, but in the moment, the material paving the way there feels detached and cold. As someone who is not especially well versed in this 16th century royal upheaval, it took me a little longer than I’d like to commit all the main players and their allegiances to memory, and that’s something that kept me from investing and connecting for far too long.

Similarly, along the way, Mary makes a few decisions that come across as a bit out of character - at least as she’s presented in this iteration of her story. For instance, digging into Mary’s decision to marry Lord Darnley further may have served the middle of the film well. Political concerns are clearly running through everyone’s veins the entire movie, but the script also seems to suggest that Mary was indeed swept away by Darnley romantically. Seeing and suspecting this is very different from truly feeling it though and at that point in the film, Mary seemed far too smart and capable to fall for the charms of someone who was branded such a glaring red flag.

Sure, you could breeze through a Wikipedia page or perhaps read the book the movie is based on, Queen of Scots: The True Life of Mary Stuart by John Guy , but in the moment, big decisions like this still need to be justified - whether it’s through careful thought and consideration or a believable sudden impulse - and here, neither happens. Moments like these contribute to the delay in delivering the sensation that these aren’t just stories from a history textbook, but rather fully realized people being consumed by a dangerous power struggle and that, in turn, severely diminishes the stakes of the first half of the film.

Similarly, select supporting characters feel too far removed from the main events of the film. David Tennant steps in as John Knox, a Protestant man who condemns Mary and attempts to rally the public against her. It’s a vital component of her story and Tennant gets a couple of monologues that he knocks out of the park, but their impact is diminished due to how Knox is incorporated in the script. His preachings do have an effect on Mary, but as they play in the film, they feel separate.

However, there is a point when all of this suddenly converges and comes into focus and when that happens, it’s devastating to say the least. These are two women of great power who more often than not, come across as very capable of wielding it well, but they’re surrounded and suffocated by manipulative male advisors and the constant threat of losing their power. Blind assumptions are made due to gender and religion, and those assumptions completely destroy the Queens’ abilities to reach peak potential and possibly see their respective nations thrive. It’s a truly chilling realization that proved to weigh especially heavily on my mind after the film wrapped up, despite its rather dull start.

And when this happens, it’s further amplified by the fact that it all comes together for the viewer just as it comes together for Mary herself. Much of the beginning of the movie is about following along as Mary attempts to move the pieces around the board and make the best decisions possible, but then just as she’s swallowed whole by the reality of her situation, what’s really going on around her and how there’s no escaping it, so are you. That’s when the tension and suspense peaks, and you’re hanging on Mary and Elizabeth’s every word. You may have read that Ronan and Robbie only filmed one scene together for this movie, and that scene is everything you could hope for then some.

Mary Queen of Scots may not be an all-around knockout, but it does show signs of big screen promise for director Josie Rourke . There’s one battle scene where the shot selection makes it challenging to follow the action, but when the movie puts Ronan or Robbie center stage, Rourke wisely lets the camera sit, relishing their every word. Mary Queen of Scots is also dripping with gorgeous costume and production design, another element of the film Rourke lavishes in capturing with Academy Award nominated cinematographer John Mathieson .

Perhaps the big question now is, is the slow, dreary beginning worth watching for the compelling conclusion? While there’s no excuse for a film to be this disjointed, that question is still getting a resounding “yes” from me because ultimately, Rourke, Ronan and Robbie overcome that flaw shockingly well. I found myself frustrated and admittedly bored throughout much of the beginning of the film, but I walked out completely consumed by the fact that, as Elizabeth states in the movie, Mary’s gifts were her downfall, and as a woman striving to grow in a male dominated industry, it’s crushing to hear that uttered from one woman in power to another with such conviction.

'Mary Queen of Scots' is a fresh, feminist take on a story you think you know and Saoirse Ronan is brilliant

“Mary Queen of Scots” is one of the most surprising movies of the year.

The movie, which stars Saoirse Ronan, Margot Robbie, Guy Pearce and David Tennant, starts off slow but is a thrilling historical drama that stands out from others in its genre due to its relevant feminist perspective and a fresh take on characters we’ve seen on screen over and over again. It's one of the best movies of the year, though we weren't expecting it to be at all.

Based on John Guy’s biography Queen of Scots: The True Life of Mary Stuart (which you, like me, may purchase as you leave the theater) , that suggests Mary (Ronan) and Queen Elizabeth I (Robbie) met in real life, the film tells the the story of Mary's tragic life starting from her return to Scotland (she grew up in France) in 1561 up until her execution in 1587.

Read more: 'The Favourite' is an excellent examination of female relationships, and it's one of the funniest and boldest movies of the year

The film centers on Mary and Elizabeth’s fragile, long distance relationship but depicts neither character as a villain. Instead, it portrays two smart women in power who try to do the right thing for their people. But both, especially Mary, consistently fail because of the men threatened by their gender.

Why you should see it: It has a fresh perspective on a story you think you know.

"Mary Queen of Scots" is both exactly what you’d expect from an Elizabethan era drama and exactly what you weren’t expecting. It has a intricate costumes, a relevant feminist message, and an emphasis on long exchanges of dialogue in dimly lit castles instead of epic battles on gorgeous European exteriors (exactly what any other movie would do, a recent example being "Outlaw King").

By focusing on the tragic life of Mary Stuart, a character usually depicted as a one-note villain with little to no empathy or character development, “Mary Queen of Scots” is a necessary take that was fittingly directed by a woman. Josie Rourke's feature debut establishes her style and suggests she is on her way to becoming one of the best directors in the industry. Please hire her for everything.

Read more: The 20 greatest movie actors and actresses of all time

What's hot: The empathetic take on a woman wronged by history

Because of Mary Stuart’s fate (major history spoiler: she gets beheaded for conspiracy to murder her cousin Queen Elizabeth), she’s often been portrayed on TV and in film and in popular culture as one-dimensional caricature reduced to sexist tropes, with the audience given no insight or knowledge about anything about her life apart from her plan to murder the queen. And listen: Her life sucked. Both of her husbands died, she constantly lived in fear of men overthrowing her power (including her own brother), and her own country took her child away from her.

But "Mary Queen of Scots" changes things. Given more context on the complex life of Mary Stuart, who spent the end of her life imprisoned, there's a better understanding of who she was and why she ended up in a position where she was driven to kill her cousin. We are not condoning conspiring to murder queens! But Mary’s journey throughout the film is rough, and her perspective isn't something that's been told in such a thoughtful way.

Read more: 12 TV shows that were inspired by the lives of real famous figures

The character has never been given emotional depth or one sliver of empathy, but Willimon’s layered writing combined with Rourke's clever eye help Ronan carry the movie and a flawed character in one of her best performances to date.

What’s not: It’s a slow burn.

At first, it doesn’t feel like "Mary Queen of Scots" will be a great movie. It starts off incredibly slow, and with all the set up, outlandish costumes, countryside shots, and dialogue you’d expect in an Elizabethan era film.

The first hour of the film doesn’t drag, but just doesn’t feel particularly unique. But once, sadly, Mary’s life gets more and more tragic, the movie gets more thrilling and the pace speeds up, and it manages to make long scenes of dialogue more enjoyable.

The bottom line: "Mary Queen of Scots" is an excellent examination of two smart and powerful women.

There are a lot of movies out this holiday season, including “Aquaman,” “Mary Poppins Returns,” “Vice,” “On the Basis of Sex,” and more. But “Mary Queen of Scots” is a necessary, timely historical drama that you should experience in theaters.

"Mary Queen of Scots" hits theaters everywhere December 21, after a limited release earlier this month. Watch the trailer:

Visit INSIDER's homepage for more.

Watch: Hollywood dialect coach breaks down accents in 'Mary Queen of Scots'

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Mary queen of scots, common sense media reviewers.

Great star performance in sometimes violent historic drama.

A Lot or a Little?

What you will—and won't—find in this movie.

Positive messages include the idea that women lead

Mary and Elizabeth feel devoted to their kingdoms

In one harrowing scene, a wrongly accused man is s

An unmarried couple embraces and kisses. A suitor

"Bastard," "whore," "damn," "fornicator," "adulter

Adults drink at various events, a couple to excess

Positive Messages

Positive messages include the idea that women leaders shouldn't be underestimated and that leaders need to put their people's well-being first. Also shows the various ways that sexism has worked even against queens.

Positive Role Models

Mary and Elizabeth feel devoted to their kingdoms and countries, wanting to do what's best as leaders. Mary is kind to her court and understanding of their differences. Both women are surrounded by men who in some ways want to use and manipulate them.

Violence & Scariness

In one harrowing scene, a wrongly accused man is stabbed to death by multiple nobles. Rape scene. Two fairly big battles; people fight with swords, and some die. A man is about to kill someone, but Mary stops him. A character is shown in the moments leading up to her execution via beheading.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

An unmarried couple embraces and kisses. A suitor performs implied oral sex (his head is under her skirts) on a woman; the camera focuses on her face. A married couple consummates their marriage. A man commits adultery; he's caught half-dressed in bed with his lover. A character's nipples are visible through a wet shirt. Mary describes to her ladies-in-waiting how she was never fully "with" her first husband and looks forward to real passion. Nonsexual shot of period blood.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

"Bastard," "whore," "damn," "fornicator," "adulterer," "sodomite."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Drinking, Drugs & Smoking

Adults drink at various events, a couple to excess.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that Mary Queen of Scots is a period drama about Mary Stuart ( Saoirse Ronan ), who returned to Scotland to rule after she was widowed at age 18. The movie reportedly contains some historical inaccuracies, but the broad strokes are based in truth and follow the tumultuous relationship between Mary and her "cousin queen" Elizabeth I ( Margot Robbie ). Expect violent battle scenes (people fight with swords; some die), as well as an execution, a harrowing assassination via stabbing, and a rape scene. On the sex/romance front, there's kissing, implied oral sex, lovers caught in bed half-dressed, and other sex talk; a character's nipples are visible through a wet shirt. Language is mostly along the lines of "bastard" and "whore," and characters sometimes drink too much. With its feminist themes, this costume drama explores the "what ifs" of a world in which the two queens could have ruled as friends, rather than as foes controlled by the ruthless men in their courts. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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Community Reviews

Parents say (5)
Kids say (6)

Based on 5 parent reviews

Historically Anaemic

It's good show, what's the story.

MARY QUEEN OF SCOTS is the story of 18-year-old Mary Stuart ( Saoirse Ronan ), the widowed queen of France, who returns to her native Scotland to reclaim her throne despite the fact that she grew up and lived in France. Her relationship -- via letters and emissaries -- with her cousin, English queen Elizabeth I ( Margot Robbie ), is fraught with demands and petitions. Elizabeth I and her court want Mary to marry, but not so well that she can challenge Elizabeth's claim (itself seemingly fragile at the time because of her lack of an heir). As Mary begins to do what she feels she must, she alienates former allies, as well as the newly powerful Protestant Church of Scotland, whose leader, John Knox ( David Tennant ), considers the Catholic queen a French papist who's unfit to rule.

Is It Any Good?

Director Josie Rourke's debut feature benefits from feminist themes, laudable performances by Ronan and Robbie, and beautiful production design, but the film is also long -- and feels it. Rourke is the artistic director of Britain's prestigious Donmar Warehouse theater, and it's easy to see the influence of the stage in Mary Queen of Scots . The movie feels Shakespearean at times, with its court intrigue, romantic dalliances, and impassioned monologues. And Ronan, one of the most versatile and gifted actresses of her generation, is well-cast and surrounded by talented supporting actors.

But good performances alone don't make a movie great. There's not much humor here, and the pacing can be so uneven that it crosses the line between contemplative into just plain slow. The big scene in the third act when the two queens finally face off is well-intentioned in its artistry, but it takes a while to get to the payoff: a heated exchange between Mary and Elizabeth, both of whom seem to wish they weren't beholden to the powerful men in their inner circles. This encounter supposedly didn't take place in real life, but it's the one scene audiences will be waiting for, so it's hard to fault Rourke for including it, imagined or no. While Mary Queen of Scots isn't nearly as memorable as The Favourite , as costume dramas go, it's worth seeing for the leading performances.

Talk to Your Kids About ...

Families can talk about the violence in Mary Queen of Scots . Were you expecting that in a historical period film? Did you know the characters' fate? If so, did that affect how you perceived their outcomes?

How is sex depicted in the story? Which relationships, if any, are based on love and respect? Which are motivated by external forces, such as power or politics?

What did you learn about Mary Stuart and Queen Elizabeth I? Did the movie inspire you to learn more about them?

How accurate do you think the film is? Do any parts feel like they've been adjusted for modern sensibilities? Why might filmmakers not stick strictly to the facts? How could you find out more about the actual events and people portrayed in the film?

Who do you consider a role model in the movie? Did you notice any character strengths on display?

Movie Details

In theaters : December 7, 2018
On DVD or streaming : February 26, 2019
Cast : Saoirse Ronan , Margot Robbie , David Tennant
Director : Josie Rourke
Inclusion Information : Female directors, Female actors
Studio : Focus Features
Genre : Drama
Topics : History
Run time : 125 minutes
MPAA rating : R
MPAA explanation : some violence and sexuality
Last updated : March 31, 2022

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Mary Queen Of Scots Review

18 Jan 2019

Mary Queen Of Scots

The story of Mary Queen Of Scots has everything a filmmaker could want. Three tumultuous marriages, rumoured affairs and a tragic death on the orders of her cousin, Elizabeth I of England, almost make for too much drama. Director Josie Rourke finds a way through by focusing on a relatable story about women struggling to survive a man’s world, though she sometimes sacrifices historical believability to do it.

We meet Mary ( Ronan ) and her ladies-in-waiting as they return from France to assume her throne. Mary is keenly aware of her status: Queen Of Scotland since she was a few months old and heir to England, unless her cousin Elizabeth ( Robbie ) finally marries and produces an heir. But Mary is Catholic on a Protestant island, and that makes her a threat. Her own lords, even her largely sympathetic half-brother James Murray (McArdle), see her as a possible fifth columnist who might sneak the Pope back into the country. The more puritanical Scots, led by David Tennant ’s John Knox, see the fact of a female ruler as an additional outrage. And Elizabeth is by no means reconciled to having a younger, beautiful queen eyeing her throne.

The conviction of Ronan and Robbie, and a strong supporting cast, nevertheless make this a compelling clash of personalities.

While she’s conscious of the danger, Ronan’s Mary chooses her allies poorly. Her second husband, Jack Lowden’s superficially charming but wildly unreliable Lord Darnley, proves a severe disappointment. Her third, Bothwell ( Martin Compston ), is apparently loyal, right until the point he reveals himself as an abusive rapist. Ronan, naturally, gives Mary some depth. She’s sufficiently egotistical to demand respect and brook no compromise with her subjects, often to a self-destructive degree. She’s also so naive that she continues partying like she did in France, despite her courtiers’ horror. The tragedies of the film are almost entirely her own doing, but knowing her as we do here, it’s hard to see how she could have acted otherwise. Equally Robbie’s touchy, calculating Elizabeth seems locked on a crash course with her sister monarch, both drawn to the one person who can understand her situation and resentful of a sudden rival.

It is, of course, a quick breeze through the real history. Beau Willimon ’s script occasionally reduces complex relationships to broadly drawn incidents that feel unrealistic in comparison to the cast’s more internal performances. Some of the design choices feel deeply anachronistic too (was Mary’s palace really half-hewn from the living rock?), though the costumes are, thankfully, more faithful than the last time we saw Mary on screen in the bonkers Reign . The biggest issue is that one showcase meeting that should be a highlight becomes the film’s weakest moment — it’s oddly written and strangely stilted. But the conviction of Ronan and Robbie, and a strong supporting cast, nevertheless make this a compelling clash of personalities. Uneasy lies the head that wears a crown, and it’s sad when even an enemy queen is closer to understanding your problems than the people you love.

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DVD & Streaming

Mary Queen of Scots

Content caution.

In Theaters

December 7, 2018
Saoirse Ronan as Mary Stuart; Margot Robbie as Queen Elizabeth I; Simon Russell Beale as Robert Beale; Martin Compston as Lord Bothwell; James McArdle as James, Earl of Moray; Adam Bond as Sir William Douglas; Adrian Lester as Lord Randolph; Ismael Cruz Cordova as David Rizzio; Euan Macnaughton as William Kirkcaldy of Grange; Nathan East as Andrew Ker of Fawdonside; David Tennant as John Knox; Jack Lowden as Henry Darnley; Joe Alwyn as Robert Dudley

Home Release Date

February 26, 2019
Josie Rourke

Distributor

Focus Features

Movie Review

In the year 1587, Mary Queen of Scots was beheaded. Elizabeth I, the Queen of England, ordered her execution on the grounds of treason. But Mary’s road to the guillotine was a long one, filled with defiance, turmoil and strife.

As a child, Mary was raised in France, away from her native land and her native religion. At the age of 15, she was married to Francis, heir apparent to the French throne. By 18, she was widowed. In the wake of her royal husband’s death, Mary returned to Scotland to claim her rightful place as queen—but she was not well received in the world of men.

Mary soon learned that she’d need to fight to keep her crown. She thought that perhaps, with the help of her “sister” Elizabeth I, the two rule could Britannia in harmony, if only they had a chance to meet. But Mary wasn’t content just ruling Scotland, so she implored Elizabeth to name her as successor to the crown of England as well.

Elizabeth had no interest in meeting or choosing a successor. As tensions between Catholics and Protestants grew more pronounced, the two queens’ meeting became even more unlikely. Elizabeth, a Protestant, could not be seen with Mary, a Catholic, during such politically tumultuous times.

Yet Mary persisted. She refused to take a husband, unless of course she could be named successor to the English crown. But though her will was strong, the forces of deception, rebellion and betrayal arrayed against her were far stronger.

Mary would have to forsake all she knew, including her own crown, to exist in a world dominated by paranoid rulers and the iron fist of the opposite sex.

Positive Elements

Mary is fiercely independent and learns from her mistakes (even though some such lessons come too late to help her). As Elizabeth tries to control Mary, Mary learns to negotiate and makes it clear that she will not wed unless it is benefits her own interests.

Mary is also portrayed as strong, bold, forgiving, kind and accepting, someone who fights for the unity of her kingdom and that of England. When her half-brother tries to thwart her plans, she still forgives and pardons him (even though that merciful response ultimately leads to her demise).

Similarly, Queen Elizabeth is a bold and fierce leader in her own right. She is portrayed as a seasoned queen, unwilling to bend at a whim. She tells Mary that “only with suffering do we know joy.” Elizabeth herself possesses many positive attributes, and she views Mary as a fierce woman who is determined, beautiful and charming.

Both women fight for their rights as queens, especially when they’re discriminated against because of their gender.

Spiritual Elements

The tension between the Catholics and Protestants strongly influences the outcome of Mary’s tragic story here. Mary is a Catholic ruling in a Protestant nation, and her religious identification is not well received.

A pastor in her council leaves, angry that she will not take his advice. He then pits his congregation against her, telling them that she is a servant of Satan, that she is evil and that she kneels to the Pope instead of God. The pastor also informs his congregation that there is only one true God, that of the Protestant faith. He curses Mary and works to enrage his congregation against her.

Mary believes that Elizabeth’s illness is God’s will, and Mary speaks often of what she believes God desires. Multiple discussions revolve around questions of God’s guidance (or the lack thereof), though a true understanding of God and His character is often quite shallow here.

Crosses are seen in the background as Mary prays to God before her execution. A man says that he would worship at Mary’s feet. Mary assures a group of soldiers that when we die, we all go to same heaven. She also asks her maidens to pray for her to produce an heir.

Sexual Content

Mary and Elizabeth share the same concern about marriage: They fear that if they marry, they will be “owned.” Both women make it clear that they do not wish to be controlled by men.

The film depicts several explicit sexual encounters that, while managing to avoid frontal nudity, nevertheless show bare backsides, movements and various sexual activities. Elsewhere, a woman’s breasts are mostly visible through a wet nightgown. Mary and her gentlewomen talk about her past sexual experiences with Francis, and the women discuss their own sexual desires as well.

Mary’s right-hand man, David Rizzio, wishes that he were a woman instead of a man. (He says this as he dances, dressed as a woman, with Mary and her gentlewomen.) Mary encourages David to be true to his nature, even after David and Henry (Mary’s husband) are seen in bed together. That scene implies that the two men had an intimate encounter the night before. (We see them unclothed in bed together, their male anatomy covered by a sheet.)

David and Henry are called “sodomizers.” Multiple men tell Henry that David and Mary have had sexual relations (though they haven’t) and that their close bond is unnatural. Two men kiss, and other men flirt with each another as well.

Queen Elizabeth and her lover, Robert Dudley, are shown in bed together (fully clothed), and it is implied that the two have formerly engaged in some kind of sexual activity. He also kisses her neck.

A man flirts with and kisses one of Mary’s gentlewomen, although the man is married. He also tries to lift up her dress, and we see the woman’s exposed thighs. Women wear cleavage-baring tops. Couples kiss and hug. A dance ceremony is held where women dance provocatively. Mary is washed by her gentlewomen after she bleeds through her gown while having her period. Elsewhere, she is seen in the throes of labor.

Mary is forced to marry a man against her will and is counseled to divorce her husband.

Violent Content

Mary is raped in one scene (her thigh and rear exposed from the side) as a man forces himself on her (his bare backside also exposed).

Mary is sentenced to death (we see a head block and axe). Her pregnant belly is threatened with a knife. Elizabeth sends soldiers to help incite a civil war in Scotland. Mary confronts Elizabeth and her knowledge of Elizabeth’s father, who was infamous for killing nearly all of his wives. Mary is often grabbed violently by men. Those who wish not to participate in violent affairs are often manipulated until they do so.

Men go to war and kill one another by gun, sword and knife. Multiple characters conspire to kill one another, specifically rulers whom they deem unfit. One particularly graphic scene depicts a man who is repeatedly and viciously stabbed to death by multiple men. We see him covered in blood, and blood pours from his mouth. (Mary throws herself on his butchered body.)

Other people are also covered in blood in various scenes. A man’s home is blown up, and a dead body lies on the floor after the explosion. Someone is choked to death. A father hits his son in the face.

Crude or Profane Language

Mary is called a “whore” and a “murderous harlot,” among other insults. Two characters of illegitimate birth receive the scathing insult of “bastard.”

Drug and Alcohol Content

Men and women drink wine.

Other Negative Elements

Rumors, treason and disloyalty fill virtually every minute of this film. The few characters who actually have good intentions are either killed or manipulated, and those who wish to carry out evil do so with free rein.

Elizabeth’s desire is to rule England and to have control of Scotland. She proposes that her lover (the Earl of Lester) wed Mary and control her. Eliabeth’s strategy is to kill Mary’s hope and to make her a pawn of England. Mary understands this plan and uses it to her advantage, going so far as to undermine Elizabeth and threaten her reign.

Both Elizabeth and Mary rule fearlessly. But given their gender, they’re often seen as rash and emotional, making weak decisions that would have been improved with the counsel of men. Mary is called “frenzied” and “weak” because of her gender, and even the mighty Elizabeth is questioned. It is clear that in the 16th century, all women, royal or common, were regarded as inferior to men.

Mary has a child and doesn’t allow her husband to see the baby (who’s sent to live outside of the kingdom). When Mary flees for her life, she is separated from her young child and never sees him again.

A woman vomits, and men gamble.

This biopic, based on British historian John Guy’s Queen of Scots: The True Life of Mary Stuart , dramatizes the relationship and the conflict between two of the most engaging, powerful women of the 16th century. And in the interest of drama, it sometimes plays fast and loose with the facts, according to some historians .

If you’ve seen any of the trailers for the film, they mostly pit these two women against each another, which leads the viewer to assume that their feud is the central theme of this film. But it really isn’t. Instead, the film’s plot focuses on how the evil desires of men and women—especially their deception, rivalry and cunning plays for power—can ultimately lead to ruin.

Actresses Saoirse Ronan (Mary) and Margot Robbie (Elizabeth) dominate in electrifying performances, fleshing out a cautionary tale that illustrates what happens when the virtues of loyalty, wisdom and self-control are thrown jarringly to the wayside.

The story’s content itself can be similarly jarring. Mary is raped, threatened and forced into unions against her will. Violence is brutal and pervasive, especially one ferocious stabbing. Sexual relationships, between men and women as well as men with other men, are at times explicitly depicted.

Then there’s the harsh reality of what life must have been like in 16th-century Scotland and England, especially for women who dared to challenge the male-dominated status quo. Mary’s idealism falls casualty to these brutal realities. And then her head does, too.

Mary Queen of Scots is well acted, but it’s still a wincingly difficult R-rated film to watch.

Kristin Smith

Kristin Smith joined the Plugged In team in 2017. Formerly a Spanish and English teacher, Kristin loves reading literature and eating authentic Mexican tacos. She and her husband, Eddy, love raising their children Judah and Selah. Kristin also has a deep affection for coffee, music, her dog (Cali) and cat (Aslan).

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Mary Queen of Scots Review: Ronan & Robbie Thrill in Ruthless Power Struggle

English period costume drama is rarely this entertaining, but Mary Queen of Scots is a true crowd pleaser.

Mary Queen of Scots is a crisply acted tale of palace intrigue, loaded with betrayal and sexual machinations. The feature film debut from renowned British theatre director Josie Rourke, Mary Queen of Scots is told from a distinctly female perspective. Saoirse Ronan and Margot Robbie light up the screen as powerful women surrounded by duplicitous men. Their competition with each other exacerbated by the scheming of acolytes. English period costume drama is rarely this entertaining.

In August of 1561, Mary Stuart ( Saoirse Ronan ), a catholic raised in France, returns to Scotland to reclaim her throne. Her bastard half-brother, the Earl of Moray (James McArdle), had been Scotland's regent in Mary's absence. Mary was cunning and supremely confident. Her return to Britain was seen as a challenge to her cousin, Elizabeth ( Margot Robbie ), the Queen of England. Elizabeth was a protestant. Her council of nobles, led by William Cecil (Guy Pearce), feared that Mary's loyalty was to the papacy in Rome. Elizabeth had never married and was childless. Mary was a legitimate challenger to the English crown, especially if she produced an heir.

Mary and Elizabeth begin a long correspondence through their advisors. Elizabeth is genuinely impressed by her cousin's beauty and intelligence. Both women had to have eyes in the back of their heads. The noblemen in their courts disdained female rule. Elizabeth is convinced to send her lover as a suitor to Mary, who could act as a spy. But Mary had other plans, setting her sights on another cousin, Lord Darnley (Jack Lowden), a nobleman with familial claims in Scotland and England.

Josie Rourke explores every facet of the queens' lives . We see Mary and Elizabeth daily routines with surprising details. A memorable scene has Mary's handmaidens tending to her monthly period. The Queens were surrounded at all times by a bevy of handlers. These were regal women in a world dominated by patriarchal men. Mary embraced her status as monarch and was intricately involved in all decisions. Elizabeth disdained politics, but was furious when her advisors were thwarted by Mary. The tension between the two growing as jealousies are inflamed. Rourke's experience as a theatre director is evident. The queens' interactions with their courts are skillfully blocked and edited.

Saoirse Ronan and Margot Robbie breathe succinct differences into their characters. This is the essential dramatic crux of the film. Mary and Elizabeth shared a birthright and lust for power, but little else. Elizabeth's refusal to marry and be beholden to a man was her greatest asset. Mary chided Elizabeth as "barren", viewing the race to produce an heir as paramount. Their sexual liaisons intricately explored by Josie Rourke. Both women had the goal of supreme authority, but radically different methods to achieve it. Saoirse Ronan and Margot Robbie deliver spellbinding performances.

From Focus Features , Mary Queen of Scots is a fascinating power struggle. The historical drama , sex, and backstabbing are salaciously entertaining. I'm not usually a fan of this material, but was captivated here. Saoirse Ronan may get another Oscar nomination. She continues to be great in every performance.

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The top 11 movies & tv shows about mary, queen of scots.

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Mary, Queen of Scots , the rightful monarch of Scotland, was most known for her rivalry with Queen Elizabeth I of England and this led to many movies about Mary Queen of Scots. Across multiple centuries, this monarch had been depicted in film and cinema around the world. Her story was as tragic as it was compelling, fascinating history lovers for centuries. This admiration leads, of course, to extreme bouts of inspiration from film and TV studios across the world. From series to movies, very few mediums were left untouched by the fiery spirit of Mary, Queen of Scots.

Mary Queen of Scots never had a chance at a real life before Elizabeth I had her locked away for years . She inherited the throne when she was only six days old after her father's death. She would only live to be 44 before Queen Elizabeth, her first cousin once removed, ordered her execution. This was after she served for 18 years in captivity, and with that, the life of Mary Queen of Scots became a thing of legend, something that filmmakers and showrunners have run with various forms of retellings of that era in British history.

11 Reign (2013-2017)

Stream on The CW

Reign showcases Mary Stuart navigating political and sexual intrigue in the French court, before sailing back to Scotland in this flirtatious drama. The young adult television show resurrected the public's interest in the famous Scottish queen by targeting a young adult audience with modern music, pseudo-historical costumes, and monarchial drama. Adelaide Kane, an actress previously featured on MTV's Teen Wolf , stars in this royal series as Mary Stuart . While the characters' costumes and hierarchical etiquette aren't historically accurate, these are creative liberties that the show's producers strategically altered for its audience; therefore, viewers can look past it.

10 Elizabeth I (2005)

Stream on PlutoTV

Elizabeth I was a 2005 TV series about the life of Elizabeth and her struggles with Spain as she leads England as its Queen. When it comes Mary Queen of Scots, she only appeared in the first part of the series. This was focused on Mary's plans to have Elizabeth killed, although she denied it in the series. Finally, her execution took place in that first part and it led to the war between England and Spain. Helen Mirren plays Elizabeth in the series while Barbara Flynn took on the role of Mary Queen of Scots. The series won nine Primetime Emmy Awards in 14 nominations, including Outstanding Miniseries.

9 Mary, Queen of Scots (2018)

Currently not included as part of a streaming package

Margot Robbie and Saoirse Ronan star in Mary, Queen of Scots as Queen Elizabeth I and Mary, Queen of Scots, respectively. One of the newest movies about Mary Queen of Scots, it's a stunning display of costuming, believable acting, and the overall hostile and tense dynamic between the two female monarchs. However, Mary, Queen of Scots takes creative liberties with the historical context that some audiences are not appreciative of. That said, the film does a great job of portraying what it must have been like for the two characters to be female monarchs in a male-dominated political era.

8 Mary of Scotland (1936)

Mary of Scotland is a 1936 film that follows Mary, Queen of Scotland, as she returns to her Celtic homeland. As with most movies about Mary Queen of Scots, this tells about her giving up her throne and requesting aid from Queen Elizabeth I, who locks her up in the Tower of London out of fear for her own throne. Katharine Hepburn portrays Mary, Queen of Scots, while Florence Eldridge is Elizabeth Tudor, the Queen of England. Both actresses have the theatrical velocity needed to represent such strong female leaders on screen, and the costumes each woman wore were tantalizing against the black-and-white color scheme of the film.

7 Gunpowder, Treason & Plot (2004)

Gunpowder, Treason & Plot is an intriguing entry to the movies and shows about Mary Queen of Scots, as it gives a broader view of history than most. This miniseries not only follows Mary Queen of Scots, but it also chronicles the story of her son — King James I of England — and his experiences on the English throne. The main overarching conflict of this show is how King James I works to stop the Gunpowder Plot. On a production level, the miniseries isn't perfect, but if viewers are yearning for more details (factual or dramatized) regarding the Gunpowder Plot, Gunpowder, Treason & Plot is worth a watch.

6 Elizabeth R (1971)

Stream on Britbox

Elizabeth R differs in its medium compared to the other productions on this list. This work is a BBC miniseries directed as plays for the television screen. The main focus of this show is to create a narrative that is deeply-rooted in accurate historical context, while also giving enough screen time to perfectly cover not only the reign of Queen Elizabeth I but also the moments of which Mary Queen of Scots influences England's reigning monarch.

5 The Execution of Mary Stuart (1895)

Currently unavailable for streaming or rental

One of the oldest movies ever made , The Execution of Mary Stuart is a brief look at the final moments of the fallen monarch's life after being imprisoned by Queen Elizabeth I. Of the movies about Mary Queen of Scots, this one does not hold a lot of substance, it's a unique first look at how the monarch was depicted by directors hundreds of years after her reign. It's also a must-watch for cinephiles and history buffs because this is one of the first films to ever be created.

4 Mary, Queen of Scots (1971)

Of the movies about Mary Queen of Scots, this one centers on the tumultuous rivalry between Queen Elizabeth I (Glenda Jackson) and Mary, Queen of Scots (Vanessa Redgrave). The heightened focus on the rivalry is meant to explore the hostile dynamic between the two female monarchs amid an era where it wasn't popular to have women in such political, hierarchal, and monarchial power. Both Glenda Jackson and Vanessa Redgrave are Academy Award-winning actresses and viewers can tell how skilled the women are as they embody two of the strongest female leaders in England and Scotland's history.

3 The Heart of a Queen (Das Herz der Königin) (1940)

The Heart of a Queen is a 1940 black and white German film that has a unique approach among the movies about Mary Queen of Scots. This film serves to parallel the execution of Queen Marry of Scots due to her propaganda against the queen( which historically was a supposed assassination attempt) with the propaganda of World War II. Cinephiles and historians would love this film because of director, Carl Froelich's unique approach to the Queen Mary of Scots narrative. Audiences may need subtitles to understand the dialogue.

2 Elizabeth: The Golden Age (2007)

Stream on Prime Video

Elizabeth: The Golden Age was the sequel to the 1998 biopic that won Cate Blanchett an Oscar for her role as Elizabeth. This movie starts in 1585, Elizabeth's later years as the Queen of England. This is when Mary Queen of Scots came to Elizabeth for help, only to end up imprisoned when the Queen worried about her own place on the throne. If Elizabeth dies without an heir, Mary takes over the throne, and Elizabeth believes Mary is conspiring to have her assassinated. Samantha Morton players Mary in one of the most successful movies about Mary Queen of Scots, with Blanchett once again earning praise for her performance.

1 Mary Queen of Scots (2013)

Stream on Hoopla

The 2013 film, Mary Queen of Scots, directed by Thomas Imbach, follows a familiar narrative course compared to other Films about the Scottish monarch. This film centers on a young Mary Stuart in France awaiting her marriage to the prince and then turns its attention to her reclaiming her Scottish throne. This film, though not widely known, works to convey accurate costumes and near-authentic accents; however, audiences may need to turn subtitles on to be able to understand what some characters are saying. Overall, it's a solid adaptation of Mary, Queen of Scots' rise to power and ascension to her Scottish throne.

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Movie Review: Mary Queen of Scots (2018)

Dan Gunderman
Movie Reviews
--> December 27, 2018

Mary Queen of Scots , Josie Rourke’s interpretation of rival queens in the 16th century is stilted and anticlimactic, with poor pacing and a weak screenplay that casts a rather conspicuous shadow over its two prominent leads, Saoirse Ronan (“ Lady Bird ”) and Margot Robbie (“ I, Tonya ”).

Rourke, long affiliated with the London stage (she’s the artistic director of Donmar Warehouse), brings a certain vividness to the tale of Queen Elizabeth I of England (Robbie) and her upstart cousin, Mary, Queen of Scots (Ronan). Yet, while her frames burst with life — with tracking shots of the Scottish countryside and accurate Tudor-era clothing — her flare for theatrics seems to bring far too much melodrama and exposition to an otherwise gripping political tale.

The film chronicles the 1569 conflict between the English and Scottish crowns, whereby Catholic nobles from Northern England attempted to depose Elizabeth and place the Scottish Mary on the throne. Mary, who has returned to her homeland following the death of her French husband, acts on her strong claim to the English throne (compared to the thin lineage put forth by Elizabeth’s grandfather, Henry VII, who seized the throne in 1485). Mary builds her court and inner circle, and endeavors to challenge or succeed Elizabeth.

Although Mary is clever and clear-sighted, she’s embedded in a misogynistic society that isn’t quite ready for an authoritative female monarch (despite strides taken by the Tudor queens). She not only has to contend with international conflicts, but the thirst for power among her own nobles. First, her half-brother, the Earl of Moray (James McArdle, “ Star Wars: The Force Awakens ”), serves as her protector, but the pressures of producing an heir ultimately lands her in the care of the charming Lord Darnley (Jack Lowden, “ Dunkirk ”). Altogether, her path to the English throne is not an easy one.

Meanwhile, in England, Elizabeth fends off the male-centric advice of her privy council — and their wish for her to find a suitor. From each respective conflict, the two queens grow close, before civil war and political pressure drive them apart.

Ronan’s portrayal of Mary is both poignant and nuanced, with careful attention to detail and an apparent nod to the Scots’ longstanding power struggle with their southern neighbor. As Mary, Ronan is shrewd and calculating when she must be, and highly emotive and empathetic at other times — likely an accurate depiction of a young, ambitious Scottish “queen.”

Separately, Robbie is another standout, playing a guarded, fearful and seemingly outmatched Elizabeth. While costume designer Alexandra Byrne props Robbie into constricting period clothing, the actress works from a painfully scattered and soapy script, penned by “House of Cards” scribe Beau Willimon. Despite being burdened by the middling script, Robbie delivers a handful of true cinematic moments, as she grapples with men’s wishes and her difficult succession. (Elizabeth famously declined to name an heir, and upon her death the crown was passed to Mary’s son, James VI and I.)

Another issue with this version of Mary’s oft-dramatized struggle is the historical context. Willimon packs the narrative with detail, in hopes of highlighting emotional beats. However, the plot suffers as a result. The third act dispenses with characters, haphazardly ties up loose ends and leaps through time with little physical effect on many of the characters. Rourke’s theatrical eye unconsciously brings exposition (and monologue) to the forefront, suppressing John Mathieson’s exquisite cinematography and criminally under-using Robbie’s talents. Similarly, Elizabeth is reduced to a desperate, anguished ruler who is full of jealousy and despair. In reality, Elizabeth was an instrumental sovereign who guided her kingdom through a pivotal period that saw England defeat Spain’s armada in 1588 and spawned the dramatic works of William Shakespeare and Christopher Marlowe, among other feats. In Mary Queen of Scots , she is far too one-dimensional, seemingly operating by impulse instead of the intuition that kept her on the throne for close to 45 years.

To be clear, the film is accessible for a modern audience, and boasts some of the most remarkable visuals of the year, and for that may likely garner award buzz. Yet, on its own, Mary Queen of Scots fizzles out pretty quickly, devoid of the charm of Shekhar Kapur’s “Elizabeth” films with Cate Blanchett. It fails to truly transport viewers to the 1500s, instead offering thrills comparable to a one-off TV drama, with thematic threads that appear far too heavy-handed. Rourke aims to show how the Elizabethan era can speak to modern themes like feminism and equality; and while it certainly can, the subplots in Mary Queen of Scots equate to scenes that simply fall flat, like much of the film.

Tagged: England , novel adaptation , prisoner , queen , royalty

Dan is an author, film critic and media professional. He is a former staff writer for the N.Y. Daily News, where he served as a film/TV reviewer with a "Top Critic" designation on Rotten Tomatoes. His debut historical fiction novel, "Synod," was published by an independent press in Jan. 2018, receiving praise among indie book reviewers. His research interests include English, military and political history.

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20 Facts About About The Life Of Mary, Queen Of Scots

Posted: May 16, 2024 | Last updated: May 17, 2024

<p><i>Mary Queen of Scots</i>, starring Saoirse Ronan as the titular Mary, debuted in December 2018 to considerable reviews and made $15.6 million at the box office. But one of the biggest qualms people have about the movie is its historical inaccuracy. Still, you've got to give Hollywood credit for even bringing Mary Stuart's unbelievable story to light in the present day. From the moment she was born, Mary would face one tragedy after another – and it seemed that being the Queen of Scots wouldn't help in the slightest. Here are some tragically true facts about Mary, Queen of Scots.</p>

Mary Queen of Scots , starring Saoirse Ronan as the titular Mary, debuted in December 2018 to considerable reviews and made $15.6 million at the box office. But one of the biggest qualms people have about the movie is its historical inaccuracy. Still, you've got to give Hollywood credit for even bringing Mary Stuart's unbelievable story to light in the present day.

From the moment she was born, Mary would face one tragedy after another – and it seemed that being the Queen of Scots wouldn't help in the slightest. Read on for some tragically true facts about Mary, Queen of Scots. Did these facts give you a new perspective on the historical figure? Let us know in the comments!

<p>Born Mary Stuart on December 8, 1542, she was the only legitimate child of Scottish King James V and his French second wife, Mary of Guise. After the Battle of Solway Moss, King James V had fallen ill and was already on his deathbed when his daughter Mary was born. </p> <p>He is said to have collapsed, which historians believe was caused by a fever contracted from drinking contaminated water on the battlefield. So six days after her birth, Mary ascended the throne as the new Queen of Scotland, relying on regents to rule until she took full command at 19. </p>

Mary Was Six Days Old When She Became Queen

Born Mary Stuart on December 8, 1542, she was the only legitimate child of Scottish King James V and his French second wife, Mary of Guise. After the Battle of Solway Moss, King James V had fallen ill and was already on his deathbed when his daughter Mary was born.

He is said to have collapsed, which historians believe was caused by a fever contracted from drinking contaminated water on the battlefield. So six days after her birth, Mary ascended the throne as the new Queen of Scotland, relying on regents to rule until she took full command at 19.

<p>Immediately, there were people vying to secure Mary's hand in marriage in an effort to gain control of Scotland. Under the Treaty of Greenwich, she was initially arranged to marry English King Henry VIII's son Edward, but that was canceled once Henry decided to arrest some Scottish merchants headed to France.</p> <p>Over mutual distrust of England, Scotland formed an alliance with France. French King Henry II agreed to offer Scotland military support on promise that their countries would unite under the marriage of Mary to his son, Francis II. Mary was sent to live in the French court at age five.</p>

Mary Got Engaged At Five Years Old

Immediately, there were people vying to secure Mary's hand in marriage in an effort to gain control of Scotland. Under the Treaty of Greenwich, she was initially arranged to marry English King Henry VIII's son Edward, but that was canceled once Henry decided to arrest some Scottish merchants headed to France.

Over mutual distrust of England, Scotland formed an alliance with France. French King Henry II agreed to offer Scotland military support on promise that their countries would unite under the marriage of Mary to his son, Francis II. Mary was sent to live in the French court at age five.

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<p>Mary and Francis lived a charmed life and got along well growing up together. They formally married when she was 16 and he was 14 in 1558. A year later, they both became King and Queen of France when Henry II died in a freak jousting accident. </p> <p>Their reign came to an abrupt end in 1560 when Francis contracted a middle ear infection. It got so bad that an abscess formed in his brain and killed him. His ten-year-old brother ascended the throne and a grief-stricken Mary returned to her native Scotland nine months later. </p>

Mary Was Queen Consort Of France For A Year

Mary and Francis lived a charmed life and got along well growing up together. They formally married when she was 16 and he was 14 in 1558. A year later, they both became King and Queen of France when Henry II died in a freak jousting accident.

Their reign came to an abrupt end in 1560 when Francis contracted a middle ear infection. It got so bad that an abscess formed in his brain and killed him. His ten-year-old brother ascended the throne and a grief-stricken Mary returned to her native Scotland nine months later.

<p>In February 1565, Mary met her half-first cousin Lord Darnely and fell head over heels, believing him to be "the lustiest and best proportioned long man that she had seen" (he was over six feet tall). They got married five months later, making Darnley the king consort of Scotland. Then his true colors came to light.</p> <p>Underneath his alleged good looks, Darnley proved himself to be a vain, arrogant man with a violent streak encouraged by alcohol. He demanded the Crown Matrimonial, which would make him co-sovereign of Scotland, but Mary refused. Things only got worse from there.</p>

Mary's Second Husband Was The Worst

In February 1565, Mary met her half-first cousin Lord Darnely and fell head over heels, believing him to be "the lustiest and best proportioned long man that she had seen" (he was over six feet tall). They got married five months later, making Darnley the king consort of Scotland. Then his true colors came to light.

Underneath his alleged good looks, Darnley proved himself to be a vain, arrogant man with a violent streak encouraged by alcohol. He demanded the Crown Matrimonial, which would make him co-sovereign of Scotland, but Mary refused. Things only got worse from there.

<p>Mary became pregnant within a year of marrying Lord Darnley, though their marriage remained strained. Darnley grew jealous of Mary's friendship with her personal secretary, David Rizzio, and he believed that Rizzio was the one who impregnated Mary. </p> <p>In March 1566, Darnley conspired to have Rizzio killed. He interrupted a dinner party where he accused a five-months-pregnant Mary of adultery before having someone murder Rizzio right before her eyes. Darnley denied involvement with the murder, but Mary hardly trusted him after that. Later, two of his accomplices wrote to Mary's court saying that Darnley had initiated the murder. </p>

Lord Darnley Had Mary's Secretary Killed Right In Front Of Her

Mary became pregnant within a year of marrying Lord Darnley, though their marriage remained strained. Darnley grew jealous of Mary's friendship with her personal secretary, David Rizzio, and he believed that Rizzio was the one who impregnated Mary.

In March 1566, Darnley conspired to have Rizzio killed. He interrupted a dinner party where he accused a five-months-pregnant Mary of adultery before having someone murder Rizzio right before her eyes. Darnley denied involvement with the murder, but Mary hardly trusted him after that. Later, two of his accomplices wrote to Mary's court saying that Darnley had initiated the murder.

<p>Mary's son James was born in June 1566, but her marriage with Darnley was irrevocably broken after Rizzio's murder. On top of that, Darnley wasn't well-liked among others in the Scottish court. </p> <p>Eight months later, Darnley allegedly had syphillis and went to Kirk o'Field to recover. Despite their differences, Mary visited the ailing Darnley daily until she had to attend a wedding February 1567. While she was away, an explosion occured underneath Darnley's sleeping chambers but he was mysteriously found strangled to death outside in an orchard. It wasn't long before fingers were pointed at Mary.</p>

Mary Was A Suspect In Lord Darnley's Death

Mary's son James was born in June 1566, but her marriage with Darnley was irrevocably broken after Rizzio's murder. On top of that, Darnley wasn't well-liked among others in the Scottish court.

Eight months later, Darnley allegedly had syphillis and went to Kirk o'Field to recover. Despite their differences, Mary visited the ailing Darnley daily until she had to attend a wedding February 1567. While she was away, an explosion occured underneath Darnley's sleeping chambers but he was mysteriously found strangled to death outside in an orchard. It wasn't long before fingers were pointed at Mary.

<p>Mary was a prime suspect in Darnley's death, especially because of Rizzio's murder months earlier. It was determined several weeks later, however, that some of Darnley's own kinsmen – who were also upset about Rizzio – had carried out the king consort's death. Still, many suspect Mary was behind it all.</p> <p>In 2015, someone submitted an official inquiry into Mary, Queen of Scots' involvement with Darnley's death. Professor Sue Black of the University of Dundee performed a contemporary investigation of the murder, based on accounts and illustrations of the 16th-century crime scene and determined that there was no way Mary could have been involved.</p>

She Was Exonerated Almost 500 Years Later

Mary was a prime suspect in Darnley's death, especially because of Rizzio's murder months earlier. It was determined several weeks later, however, that some of Darnley's own kinsmen – who were also upset about Rizzio – had carried out the king consort's death. Still, many suspect Mary was behind it all.

In 2015, someone submitted an official inquiry into Mary, Queen of Scots' involvement with Darnley's death. Professor Sue Black of the University of Dundee performed a contemporary investigation of the murder, based on accounts and illustrations of the 16th-century crime scene and determined that there was no way Mary could have been involved.

<p>James Hepburn a.k.a. Earl of Bothwell, was an advisor in Mary's court and another prime suspect in Darnley death. On April 12, 1567, Bothwell was acquitted of the murder through the Ainsile Tavern Bond, signed by more than two dozen lords and bishops, which also supported his quest to wed Mary. </p> <p>He then intercepted her on her way to Edinburgh and took her to his castle at Dunbar. It's widely believed that he pretty much abducted and "took advantage" of her in this incident. Regardless, they were married by May 15, a mere 12 days after his hasty divorce from his first wife.</p>

Mary's Third Husband Forced Her To Marry Him

James Hepburn a.k.a. Earl of Bothwell, was an advisor in Mary's court and another prime suspect in Darnley death. On April 12, 1567, Bothwell was acquitted of the murder through the Ainsile Tavern Bond, signed by more than two dozen lords and bishops, which also supported his quest to wed Mary.

He then intercepted her on her way to Edinburgh and took her to his castle at Dunbar. It's widely believed that he pretty much abducted and "took advantage" of her in this incident. Regardless, they were married by May 15, a mere 12 days after his hasty divorce from his first wife.

<p>Mary's third marriage, of course, was disastrous. She didn't have the support she thought she did, as many believed she shouldn't have married the man accused of killing her husband. The marriage discredited Mary's authority among many Scottish nobles who didn't trust Bothwell. </p> <p>Enough people turned against them and Mary was denounced as a adulteress and murderer. She was eventually imprisoned at a castle on an island in the middle of Loch Leven, where she miscarried twins. On July 24, 1567, she was forced to abdicate the Scottish throne in favor of her first-born, James. Meanwhile, Bothwell was driven into exile. </p>

Mary Was Imprisoned And Forced To Abdicate The Throne

Mary's third marriage, of course, was disastrous. She didn't have the support she thought she did, as many believed she shouldn't have married the man accused of killing her husband. The marriage discredited Mary's authority among many Scottish nobles who didn't trust Bothwell.

Enough people turned against them and Mary was denounced as a adulteress and murderer. She was eventually imprisoned at a castle on an island in the middle of Loch Leven, where she miscarried twins. On July 24, 1567, she was forced to abdicate the Scottish throne in favor of her first-born, James. Meanwhile, Bothwell was driven into exile.

<p>In 1567, after she was forced to give up her throne to her son and sent away to prison, Mary would never see him again for the rest of her life. Anointed the King of Scots at just over a year old, James would also never really get to know his mother.</p> <p>Contrary to his mother's Catholic upbringing, James was brought up as Protestant in accordance with the religious beliefs of most of the Scottish ruling class. According to some reports, he learned from his own tutor that Scotland was right in dethroning his mother. </p>

Mary Never Saw Her Son James Again

In 1567, after she was forced to give up her throne to her son and sent away to prison, Mary would never see him again for the rest of her life. Anointed the King of Scots at just over a year old, James would also never really get to know his mother.

Contrary to his mother's Catholic upbringing, James was brought up as Protestant in accordance with the religious beliefs of most of the Scottish ruling class. According to some reports, he learned from his own tutor that Scotland was right in dethroning his mother.

<p>After a year, Mary successfully broke out of prison. George Douglas, brother of Sir William Douglas who owned Loch Leven Castle, helped Mary make her great escape. On May 2, 1568, May Day festivities had most of the island drunk off wine. It was the perfect distraction for Mary to walk out of the castle in plain sight. </p> <p>The former Douglas assisted Mary to a boat that was waiting to take her to freedom at the castle of Niddry. Mary enjoyed her freedom for about two weeks before her supporters were defeated in a battle against her half-brother Lord Moray, who was serving as infant King James' regent. </p>

She Still Managed To Break Out Of Prison

After a year, Mary successfully broke out of prison. George Douglas, brother of Sir William Douglas who owned Loch Leven Castle, helped Mary make her great escape. On May 2, 1568, May Day festivities had most of the island drunk off wine. It was the perfect distraction for Mary to walk out of the castle in plain sight.

The former Douglas assisted Mary to a boat that was waiting to take her to freedom at the castle of Niddry. Mary enjoyed her freedom for about two weeks before her supporters were defeated in a battle against her half-brother Lord Moray, who was serving as infant King James' regent.

<p>Mary's cousin Elizabeth I reigned over England since 1558. But many believed that Mary was the rightful heir to the English throne since her paternal grandmother was Margaret Tudor, which made Mary the senior surviving legitimate descendant of Henry VII.</p> <p>Pen pals throughout much of their lives, Elizabeth even acknowledged Mary's claim to the English throne. She was even there to welcome Mary after her escape from prison. But after Mary became the focus of English Catholic and Spanish plots to overthrow Elizabeth, the latter locked Mary up in various castles throughout England for almost 20 years. </p>

Her Cousin Elizabeth Betrayed Her For Over A Decade

Mary's cousin Elizabeth I reigned over England since 1558. But many believed that Mary was the rightful heir to the English throne since her paternal grandmother was Margaret Tudor, which made Mary the senior surviving legitimate descendant of Henry VII.

Pen pals throughout much of their lives, Elizabeth even acknowledged Mary's claim to the English throne. She was even there to welcome Mary after her escape from prison. But after Mary became the focus of English Catholic and Spanish plots to overthrow Elizabeth, the latter locked Mary up in various castles throughout England for almost 20 years.

<p>As Mary frequently became the center of plots to take out Elizabeth, the Queen of England had to employ her own secret service to take out conspirators and keep an eye on Mary. Elizabeth hired lawyer Francis Walsingham as her spy master.</p> <p>Using a multitude of decoding methods to decipher secret messages in letters, he discovered that Mary was corresponding with a young Catholic named Anthony Babington. Walsingham employed a spy named Gifford as a double agent to intercept the letters that were delivered and sent from Mary. </p>

Elizabeth Employed Spies To Gather Evidence Against Mary

As Mary frequently became the center of plots to take out Elizabeth, the Queen of England had to employ her own secret service to take out conspirators and keep an eye on Mary. Elizabeth hired lawyer Francis Walsingham as her spy master.

Using a multitude of decoding methods to decipher secret messages in letters, he discovered that Mary was corresponding with a young Catholic named Anthony Babington. Walsingham employed a spy named Gifford as a double agent to intercept the letters that were delivered and sent from Mary.

<p>Babington was recruited by John Ballard, a Jesuit priest who wanted to rescue Mary from her imprisonment. Babington and Ballard's plans were easy for Walsingham to uncover – considering that they often discussed their plans in public – so he focused on using this info to implicate Mary.</p> <p>Mary wrote back to Babington in code on July 17, 1586. Walsingham's spies decoded the letter, discovering that Mary not only gave her blessing to go forth with the plot, but she also expressed her desire to be rescued – as well as ordering her rescuers to assassinate her cousin Mary.</p>

Mary Reportedly Ordered Her Cousin's Assassination

Babington was recruited by John Ballard, a Jesuit priest who wanted to rescue Mary from her imprisonment. Babington and Ballard's plans were easy for Walsingham to uncover – considering that they often discussed their plans in public – so he focused on using this info to implicate Mary.

Mary wrote back to Babington in code on July 17, 1586. Walsingham's spies decoded the letter, discovering that Mary not only gave her blessing to go forth with the plot, but she also expressed her desire to be rescued – as well as ordering her rescuers to assassinate her cousin Mary.

<p>Mary, Queen of Scots was implicated in the Babington Plot and arrested on August 11, 1586, an entire 18 years after she started the house arrest imposed by Elizabeth. The following month, she was tried for treason, denying the charges on the grounds that she was a foreign anointed queen and since she was never an English subject, she couldn't be guilty of treason.</p> <p>Mary was also denied the opportunity to review evidence and access to legal counsel. She also stated that her letters were taken without her knowledge. On October 25, she was still convicted and sentenced to death.</p>

Mary's Defense Wasn't Enough To Save Her

Mary, Queen of Scots was implicated in the Babington Plot and arrested on August 11, 1586, an entire 18 years after she started the house arrest imposed by Elizabeth. The following month, she was tried for treason, denying the charges on the grounds that she was a foreign anointed queen and since she was never an English subject, she couldn't be guilty of treason.

Mary was also denied the opportunity to review evidence and access to legal counsel. She also stated that her letters were taken without her knowledge. On October 25, she was still convicted and sentenced to death.

<p>Having been brought up in France, Mary was far removed from the religious and political turmoil in her homeland. As she was raised a Catholic, Protestant and Catholic factions in Scotland were up in arms. When Mary returned to Scotland to take her place as queen back in 1561, Protestant reformer John Knox was vehemently preached against her.</p> <p>So it makes sense that hours before her death, she wrote her final letter to her brother-in-law the King of France, asking for prayers "offered to God for a queen who has borne the title Most Christian, and who dies a Catholic, stripped of all her possessions."</p>

She Viewed Herself As A Catholic Martyr Upon Her Death

Having been brought up in France, Mary was far removed from the religious and political turmoil in her homeland. As she was raised a Catholic, Protestant and Catholic factions in Scotland were up in arms. When Mary returned to Scotland to take her place as queen back in 1561, Protestant reformer John Knox was vehemently preached against her.

So it makes sense that hours before her death, she wrote her final letter to her brother-in-law the King of France, asking for prayers "offered to God for a queen who has borne the title Most Christian, and who dies a Catholic, stripped of all her possessions."

<p>Mary, Queen of Scots, arrived to her death with dignity. Within the Great Hall at Fotheringhay Castle, a scaffold was erected and draped in black cloth. It was furnished with the block and a cushion for Mary to kneel on. Three stools were also set up; two for the witnesses and one for Mary.</p> <p>As it was typical to ask the pardon of the one being put to death, the executioner knelt before Mary and asked her forgiveness to which she replied, "I forgive you with all my heart, for now, I hope, you shall make an end of all my troubles."</p>

The Executioner Asked Mary For Forgiveness

Mary, Queen of Scots, arrived to her death with dignity. Within the Great Hall at Fotheringhay Castle, a scaffold was erected and draped in black cloth. It was furnished with the block and a cushion for Mary to kneel on. Three stools were also set up; two for the witnesses and one for Mary.

As it was typical to ask the pardon of the one being put to death, the executioner knelt before Mary and asked her forgiveness to which she replied, "I forgive you with all my heart, for now, I hope, you shall make an end of all my troubles."

<p>Mary removed her outer garments before the execution. On the day of her death, Mary wore a velvet petticoat with a black satin bodice and trimmings. Her sleeves were colored crimson brown, the liturgical color of martyrdom in the Catholic Church. She was then blindfolded by a white veil with gold embroidery. </p> <p>Mary then willingly knelt down on the cushion and positioned her head on the block. She stretched out her arms as she said her last words: "In manus tuas, Domine, commendo spiritum, meum," which translates to "Into thy hands, O Lord, I commend my spirit."</p>

At The Very Least, Mary Went Out In Style

Mary removed her outer garments before the execution. On the day of her death, Mary wore a velvet petticoat with a black satin bodice and trimmings. Her sleeves were colored crimson brown, the liturgical color of martyrdom in the Catholic Church. She was then blindfolded by a white veil with gold embroidery.

Mary then willingly knelt down on the cushion and positioned her head on the block. She stretched out her arms as she said her last words: "In manus tuas, Domine, commendo spiritum, meum," which translates to "Into thy hands, O Lord, I commend my spirit."

<p>Somehow it took multiple tries to successfully behead Mary. On the first blow, the executioner missed her neck and struck her on the back of her head. With the second blow, she was almost completely decapitated, but the executioner had to cut through a bit of sinew with his axe. </p> <p>After the deed was done, there were multiple reports that the queen's small dog emerged from her skirt, terrified and drenched in blood. Other eyewitness accounts noted that Mary's signature auburn hair was merely a wig and that she actually had short, grey hair.</p>

Her Death Wasn't Swift And Painless – And There Was A Puppy

Somehow it took multiple tries to successfully behead Mary. On the first blow, the executioner missed her neck and struck her on the back of her head. With the second blow, she was almost completely decapitated, but the executioner had to cut through a bit of sinew with his axe.

After the deed was done, there were multiple reports that the queen's small dog emerged from her skirt, terrified and drenched in blood. Other eyewitness accounts noted that Mary's signature auburn hair was merely a wig and that she actually had short, grey hair.

<p>Because Queen Elizabeth I feared her cousin would take her place on the English throne, Mary, Queen of Scots was met with a grisly death. Ironically, it would be Mary's posterity that would reign anyway. As son of the Queen of Scots and great-great-grandson of Henry VII, King of England and Lord of Ireland, James was slated to accede all three thrones anyway. </p> <p>Because Elizabeth died childless, Mary's son James was named her heir apparent. During his reign, he ordered his mother's body to be exhumed in 1612 and re-interred at Westminster Abbey. Mary's final resting place is now opposite the tomb of her cousin Elizabeth for all of eternity. </p>

Mary's Son Became King Anyway

Because Queen Elizabeth I feared her cousin would take her place on the English throne, Mary, Queen of Scots was met with a grisly death. Ironically, it would be Mary's posterity that would reign anyway. As son of the Queen of Scots and great-great-grandson of Henry VII, King of England and Lord of Ireland, James was slated to accede all three thrones anyway.

Because Elizabeth died childless, Mary's son James was named her heir apparent. During his reign, he ordered his mother's body to be exhumed in 1612 and re-interred at Westminster Abbey. Mary's final resting place is now opposite the tomb of her cousin Elizabeth for all of eternity.

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In the grand soap opera of 16th-century European politics, Mary Stuart played a dizzying role, which rendered her both larger and smaller than life. Crowned Queen of Scotland after her father’s death when she was six days old, she was smuggled over to France aged five to prevent Henry VIII from marrying her off to his son Edward, in order to bring the Scots to heel. She briefly became Queen of France, and had three husbands, all of whom died on her (one, possibly, with her connivance), before being beheaded for treason by Elizabeth at the age of 44.

The paradox of a queen who was also a political pawn is captured with breathtaking ferocity by 71-year-old Isabelle Huppert , who recounts the story of Mary’s life on the eve of her death, with excerpts from her letters. For the first quarter-hour of the 90-minute tour de force, she is a silhouette at the back of the wide stage, who spits out a swirling torrent of words while standing perfectly still, her hands stiffly crossed on the bodice of a glittering black dress.

As she glides forward, the lighting swims to blue, revealing an unblinking, chalk-white face, which – in the style of Beckett’s monologue Not I – shapes itself around a hyper-mobile, scarlet mouth. The text, by Darryl Pinckney, is directed by Robert Wilson more like a libretto than a play, its tempi slowing and accelerating to tongue-twisting speed, in counterpoint with a lush orchestral score from Ludovico Einaudi.

Wilson, who also designed the staging and the lighting, is the most controlling of directors who nevertheless manages to draw astonishing performances from top-flight performers. Mary is his marionette, brought to life by Huppert, her every gesture precisely choreographed. This point is explicitly made when she starts to move, zigzagging back and forth across the stage, her arms scything the air, in a stilted puppet dance.

The production comes from Théâtre de la Ville–Paris, and the information-heavy text is performed in French, with surtitles that are at first a frustrating distraction. But the circularity of Mary’s anecdotes, and the hypnotic force with which Huppert delivers them, make it gradually seem less important to catch every word. She obsessively references the four Maries/Marys who were her companions and minders, and is comically contemptuous of her enemies: her mother-in-law, Catherine de’ Medici (so frightened of losing her jewels that she wore them all), and the Protestant turncoat John Knox. As death approaches she becomes more needy, extolling her own beauty, and proclaiming herself innocent of all charges against her.

What in the end do we learn about her? That she is unknowable, because royalty is a performance and a propaganda war. Occasionally a relatable humanity pierces the facade – such as her love of animals or her grief at being separated from her son, the future King James. But their impact says as much about our yearning for empathy as about her. This show will not be to everyone’s taste, but for fans of Wilson and the magnificent Huppert, it is a collector’s item.

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KS3 History Tudors Lesson - Mary, Queen of Scots

Subject: History

Age range: 11-14

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14 May 2024

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This lesson covers the life of Mary Queen of Scots, her relationship to the Tudors, the political and religious turmoil that she was subject to in Scotland, and her interactions with and execution by Queen Elizabeth I.

This lesson includes a high-quality PowerPoint, several pages of notes for teachers to use during the delivery of the lesson, and an information sheet for students to use with their task.

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At the screening, Rothman, seated in front of me, indicated that he’d probably stay 10 minutes because he’d seen the picture countless times.

I had the same plan in my head as well.

But when the opening credits rolled on that big wide screen in the Salle Buñuel, we were both seduced.

Gilda reeled us in

Or, as he put it when he addressed guests at Michelangelo’s, he stayed for the whole movie “because it’s f*cking great.”

“So, I’m sorry. Do not tell me that movies do not endure, don’t tell me that movies don’t matter. They do, they have, and they always will.”

He added that “It is our past that enables our present.”

And without the history and the foundations “for all those years to build on, we couldn’t take the risks and make movies that we make today. The past enables the present.”

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He then went walkabout to each table with studio predecessor Amy Pascal in tow.

The Spider-Man and Challenger s producer said that she was in town, at the Hotel du Cap, actually, “for Tom and the studio’s centennial.”

Pascal told me she’s headed to London for the official opening night of director Jamie Lloyd’s production of Romeo & Juliet at the Duke of York’s Theatre on Thursday. “I’ll be there for Tom,” she said, referring to Spider-Man actor Tom Holland, who stars alongside Francesca Amewudah-Rivers in the titular roles in Shakespeare’s study of tragic consequences.

Must say that we were treated royally at Michelangelo’s.

They set up a marquee in the square opposite the restaurant proper for cocktails and slices of pizza smothered with shavings of fresh truffle. Then we trooped across the road where guests tucked into char-grilled squid; aubergine parmigiana; burrata, tomatoes and basil; ravioli with fresh truffle; and artichoke salad.

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Though, as I hoovered up the fresh truffles [sorry to rub it in to those in Cannes surviving on three-day-old sandwiches], the thought occurred to me that how many movies one sees now will enthrall audiences of the future, the way the “f*cking great” Gilda has 78 years after it was released?

Voicing The Troubles

EXCLUSIVE : Filmmaker Josie Rourke ( Mary Queen of Scots, Alan Bennett’s Talking Heads ) has joined forces with her partner, comedy writer, producer and character comedian Michael Stranney ( 8 Out of 10 Cats Does Countdown ) on a new feature project called Being Gerry .

The title refers to former Sinn Féin president Gerry Adams and how, at the height of the Troubles in the late 1980s and early ’90s, the Conservative Home Secretary Douglas Hurd imposed a ban on British broadcasters from allowing certain Irish politicians — namely members of Sinn Féin such as Adams and Martin McGuinness — to have their actual voices heard on radio and TV broadcasts.

Rourke and Stranney, who was born in Northern Ireland, told me that they became “fascinated” about the idea of “who the voice actors were who voiced Jerry Adams“ during the broadcasts.

“These guys were young unknowns who recorded it and dubbed it often at a moment’s notice for thirty quid [£30] a pop for doing a voice-over,” they said.

The screenplay has been completed and the pair are keen to get the film in front of cameras, hopefully, next year.

When I asked about possible casting, both chuckled and made the point that it’s not as if “there’s a shortage of actors from Ireland,” referring to the likes of Paul Mescal, Barry Keoghan, Andrew Scott and many others.

By the way, none of those aforementioned stars are attached! Yet.

Rourke has other projects on the go including Julie , written by Sara-Ella Ozbek, based on August Strindberg’s Miss Julie , and a contemporary version set in London by Polly Stenham that was staged at the National Theatre. It’s being produced by Finch & Partners’ Rabbit’s Foot Films.

The director also has her eye on an American play that she wants to bring to the London stage. Rourke, a former artistic director of the Donmar Warehouse and the Bush Theatre in London, refused to elaborate because “there are still many discussions to be had.”

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Film Review: Saoirse Ronan in ‘Mary Queen of Scots’

Peter Debruge

Popular on Variety

Reviewed at Wilshire Screening Room, Los Angeles, Nov. 6, 2018. MPAA Rating: R. Running time: 124 MIN.

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‘Mary Queen of Scots’ Review: Saoirse Ronan & Margot Robbie Shine Despite a Slow Start

'Mary Queen of Scots' is a fresh, feminist take on a story you think you know and Saoirse Ronan is brilliant

Why you should see it: It has a fresh perspective on a story you think you know.

What's hot: The empathetic take on a woman wronged by history

What’s not: It’s a slow burn.

The bottom line: "Mary Queen of Scots" is an excellent examination of two smart and powerful women.

Watch: Hollywood dialect coach breaks down accents in 'Mary Queen of Scots'

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