Eduardo II

I love Elizabethan drama. I had been on a Kenneth Branagh and William Shakespeare kick(and I guess I still am)when on a whim I bought this film based on the play of the same name by Shakespeare-contemporary Christopher Marlowe. I am very glad I did. Edward II(Steven Waddington of SLEEPY HOLLOW) ditches one icey, repressed Queen Isabella(Tilda Swinton) for another hot and uninhibited queen, gay lover Gaveston. But the romance is doomed when the nobility rises up with Isabella to end the affair. Director Derek Jarman's adaptation is one of those rare films that succeeds set in a time other than in its original setting. He moves the setting and action of the movie to the modern era, and this serves as a more timely backdrop for the movie's pro-gay stance, which seems to me to be its central theme. I really liked Steven Waddington, who was very, very good. And an unexpected surprise came from Tilda Swinton, an actress with whom I am not familiar but whose other work I'd like to see, based on the quality of her performance here. Strongly recommended!!!

Wearing his gay-right crusading heart on his sleeve, Derek Jarman's antepenultimate work EDWARD II is a post-modern interpretation of Christopher Marlowe's play about the eponymous Plantagenet sovereign (Waddington, a celluloid debutant), whose partiality towards his male lover Piers Gaveston (newcomer Tiernan), raises Cain in the court and prompts his wife Queen Isabella (Swinton), in league with Lord Mortimer (Terry), to usurp his throne.

Shot in Jarman's characteristic sparse, claustrophobic setting which avails itself of minimal indoor lighting and cherry-picked iconography to great effect (striking use of refraction, a quasi-black-box theater intimacy, etc.), EDWARD II radically strews anachronistic items into its theatrical foreground: a slick modern dance, characters sporting contemporary costumes and its trimmings (business suits for the members of the court and for Queen Isabella, a Hermes bag accompanies her entrance), brandishing modern weapons, notably a band of rioting gay right activists constitutes the king's army, Jarman has economically, but also impressively warps its source play's temporality and gives its story an exigency and immediacy that elicits strong topicality, when cruelty is wantonly lashed out at the beleaguered gay lovers.

Among the cast, every single one of the main cast robustly sinks his or her teeth into Marlowe's florid wording, a savage-looking Tiernan flouts the traditional aesthetics of a rakish lotus eater and brings about a fierce ugliness that contests for a basic human right which goes beyond its often beautified physicality and narcissism (a self-seeking whippersnapper still has his inviolable right to love someone of his own sex); both Swinton and Terry grandly chew the scenery of lofty operatics, but in a commendable way which resoundingly adds the dramatic tension and heft of their sinister collusion, and by comparison Waddington, looks unfavorably bland and wishy-washy in a role who pluckily hazards his monarchial reign in favor of one single mortal that he holds dearest.

As Annie Lennox's belts out "EV'RY TIME WE SAY GOODBYE" in her cameo appearance, Jarman's EDWARD II is a soulful transposition to exclaim his cri de coeur, and steeped in his sui generis idiom that sublimes a tenacious beauty out of its rough-hewn components, but with a proviso that an acquired taste is requisite.

A history / political science major, I usually enjoy seeing "period" films of historical significance. This film would not qualify as a "period" film. However, it definitely drew my interest.

Both Steven Waddington and Tilda Swinton performed beautifully as Edward and Isabelle.

Although Derek Jarman is sadly no longer with us, I LQQK forward in viewing other films made by those directors who approximate his vision.

Definitely Derek Jarman's most refined film. That said, refined for Jarman is bizarre for most.

Based VERY loosely on Christopher Marlowe's play from 1592, however, should be view in its own light / right. Whereas it does tend to capture the wonderful Marlow language, this is no "Shakespeare" here! It's a brilliantly acted ensemble piece, set in Jarman's abstract vision of the world, with a core message that is as valid today as it must have been shocking then.

Jarman "paints" his film - as he always did - not in any logical manner or order, but like a mosaic of images, creating a whole and a statement - a strong statement about intolerance in this case.

This one might even be palatable for non-Jarman fans.

This beautifully filmed, strangely erotic minor masterwork is Derek Jarman at his best. Dark and brooding, Jarman draws the viewer into the world of medieval England while still being his unusual, original self. Homoerotic without being blatant about its pro-gay leanings, Jarman tells a story of doomed love in a time where certain loves were life threatening.