Wolf Hall 1.01. Three Hat Trick
Jan. 23rd, 2015 07:45 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
selenakSo far, so well done. They kept the jumping between eras of Mantel's first volume - but imo at least, it was not difficult to follow which time period we were in at which point - , and for the first episode, focused on the fall of Wolsey as a unifying theme, with Cromwell not meeting Henry (as in, actually talking to him) until the very end. Naturally, there's a lot of exposition - this is where everyone gets introduced - but the only time it came across as "as you know, Bob" clumsy to me was when Wolsey summed up Henry's marital history with Katherine for Cromwell. All the other times the information felt like a natural part of the dialogue.
Mark Rylance is very good as Cromwelll, getting across the man's intelligence and constant observation of everyone else. Not yet the ruthlessness because at this point he hasn't had a chance to exhibit it yet, but the toughness. The first episode's main emotional emphasis was in his relationship with Wolsey (and they kept the flashbacks to Cromwell Senior's treatment of him until we're two thirds in, so the audience is allowed to conclude Wolsey is Cromwell's replacement father on its own before that) and with his wife and daughters. (If you've read the novels, the younger daughter wearing her angel wings willl make you wince for more than one reason.) By contrast, the various courtiers and later players are briefly sketched. Mark Gatiss wins for character with only a few lines yet completely getting the personality and type of relationship with Cromwell across, very memorable. (He plays Gardiner.) Damian Lewis is no slouch, either, in that last scene as Henry VIII., whom everyone keeps talking about in the course of the episode, so basically he's the Harry Lime of Wolf Hall with the heavily delayed entrace. Said scene paints Henry as intelligent, still having some residual affection for the Cardinal but also no intention whatsoever to save him, and quickly deducing Cromwell can be useful.
Scenes only of significance if you either are aware of history or have read the novels: Mark Smeaton (though the last name hasn't been spoken out loud yet). "You may not think of us, Mark, but we think of you" indeed. I wonder whether anyone is watching it unspoiled by both und what they make of them?
They've cast Thomas Brodie Sangster as Rafe, and he's adorable (again); I've never had much investment in Rafe in the novels, so that was welcome (considering Rafe is one of Cromwell's most constant dialogue partners in upcoming events).
Lastly, the look: is gorgeous. All the candlelight minus electricity when filming certainly paid off. The costumes certainly look authentic (especially when compared to, err, certain other productions set within the same era). Oh, and bonus points for a Katherine of Aragon who isn't black haired but auburn (which according to all descriptions she was). She still speaks with a Spanish accent, though, which personally I doubt she still did at that point of her life (I mean, the woman has lived in England since she was 16, now it's more than two decades later).
Mark Rylance is very good as Cromwelll, getting across the man's intelligence and constant observation of everyone else. Not yet the ruthlessness because at this point he hasn't had a chance to exhibit it yet, but the toughness. The first episode's main emotional emphasis was in his relationship with Wolsey (and they kept the flashbacks to Cromwell Senior's treatment of him until we're two thirds in, so the audience is allowed to conclude Wolsey is Cromwell's replacement father on its own before that) and with his wife and daughters. (If you've read the novels, the younger daughter wearing her angel wings willl make you wince for more than one reason.) By contrast, the various courtiers and later players are briefly sketched. Mark Gatiss wins for character with only a few lines yet completely getting the personality and type of relationship with Cromwell across, very memorable. (He plays Gardiner.) Damian Lewis is no slouch, either, in that last scene as Henry VIII., whom everyone keeps talking about in the course of the episode, so basically he's the Harry Lime of Wolf Hall with the heavily delayed entrace. Said scene paints Henry as intelligent, still having some residual affection for the Cardinal but also no intention whatsoever to save him, and quickly deducing Cromwell can be useful.
Scenes only of significance if you either are aware of history or have read the novels: Mark Smeaton (though the last name hasn't been spoken out loud yet). "You may not think of us, Mark, but we think of you" indeed. I wonder whether anyone is watching it unspoiled by both und what they make of them?
They've cast Thomas Brodie Sangster as Rafe, and he's adorable (again); I've never had much investment in Rafe in the novels, so that was welcome (considering Rafe is one of Cromwell's most constant dialogue partners in upcoming events).
Lastly, the look: is gorgeous. All the candlelight minus electricity when filming certainly paid off. The costumes certainly look authentic (especially when compared to, err, certain other productions set within the same era). Oh, and bonus points for a Katherine of Aragon who isn't black haired but auburn (which according to all descriptions she was). She still speaks with a Spanish accent, though, which personally I doubt she still did at that point of her life (I mean, the woman has lived in England since she was 16, now it's more than two decades later).
no subject
Date: 2015-01-24 02:27 pm (UTC)Re: ruthlessness, it's got to come if they follow the novels. (As it is, this episode contained a lot of set up for later actions in terms of motivation. Which is why "you may not think of us, Mark, but we think of you" is such an incredibly chilling line in future context.) Ditto Cromwell/Anne and Cromwell/More conflict, and also more Gardiner (Gatiss' role).
no subject
Date: 2015-01-31 12:53 am (UTC)