Mary Queen of Scots

A young idealistic Queen takes the throne in brave Scotland, a queen as familiar with communal ethics as she is unaware of treacherous plots, her gallant attempts to ecumenically harmonize defiantly subverted by rank misogyny, her courageous desire to have a family, reproached by hearts diffused.

Woeful political intrigue, direst soulless plagues.

It's like at any time there are many conflicting interests, and every one of them thinks they're pursuing just objectives, and if they actually want to reify their ideas even though they rest in opposition, byzantine arrays of begrudged conflicting alliances engulf them, the steady mind keeping track of every variation, even if he or she can by no means lead.

The individual in power attempts to change things and can hopefully rely upon the discipline of her or his colleagues, as Elizabeth I (Margot Robbie) did in England for quite some time.

He or she must command differing degrees of respect, soothe aggrieved adversaries, yield when it's advantageous to do so, act at opportune times.

William Lyon Mackenzie King seems to have been a master at doing this from what I've read, perhaps because he proceeded inductively, that is, even though he had ideals he still had to balance manifold competing factors (personalities, internal and external opponents, divergent regional agendas, budgetary constraints, campaign promises, ethical expectations . . .), each with their own comprehensive sets of particularities, to implement them, so he studied individuals, learned what motivated them, learned when to trust and distrust those surrounding him, since he understood what conditioned their advice, and his incisive study allowed him to balance a relatively concrete house of cards for 9 then 13 years, with an enviable composure few could ever hope to possess.

He knew when to listen, when not too, and therefore gained the respect of the level-headed individuals within his government, and beyond.

There are no mortal gods, only women and men and clever narratives, William Lyon Mackenzie King at least had some support which unfortunately Mary Stuart (Saoirse Ronan) did not, her wise sympathetic ideas unsuited to the volatile times.

She was feisty though, and beautiful, and put up a good fight, won some key victories, and was loved by many.

If Mary Queen of Scots's as independent as it seems, a good match for its headstrong subject matter, director Josie Rourke certainly made the most of her finances.

Convincing battle scenes, impressive aerial shots, a huge number of extras travelling through landscapes which seem remote, castle dynamics, armour.

It's solid, a tragic tale passionately brought to life, myriad characters adding depth, historical sorrow, and contemporary vindications.

There's an incredible shot of Saoirse, which lasts for some time, during which I imagined her becoming more and more sublime as she ages, and continues to take on bold challenging roles.

Margot Robbie's great too, the film's very well cast (Alastair Coomer) and seems to have been taken seriously by everyone involved.

I was hoping for two or three earth shattering royal declarations, the magnanimous linguistic authenticity of which would resonate with incumbent thunder.

But you can't have everything, and the writing's still quite good (Beau Willimon and John Guy).

One of the best films I've seen in 2018.

Enriched through bright enchantments.