The Abdication

This film was shown once on local TV in the early 1980s (but I was too young to watch it) and then fell completely off the radar in the interim; however, thanks to the God-sent overhaul that TCM UK has finally decided to give its long-decaying schedule of endlessly-repeated titles, I was able to finally catch up with it after some 25 odd years! Not because the film has any kind of reputation per se but its credentials are certainly impeccable and European History has always been one of my favorite subjects in school (and one in which I excelled in). The story of Sweden's Queen Christina had already been dealt with magnificently by Rouben Mamoulian in his eponymous 1933 film which had provided Greta Garbo with arguably her greatest role; this being made a good 40 permissive years later, the independent-minded Protestant monarch (Liv Ullmann) renounces her faith and throne to sneak into the Vatican and pour out her lesbian longings for a childhood friend onto a Roman Catholic Cardinal (Peter Finch) engaged to investigate her well-documented wanton ways and her newly-professed piety! The two stars, reunited a year after Ross Hunter's maligned 1973 musical version of LOST HORIZION, are practically the whole show here despite being surrounded by opulent sets and a cast of thespian notables: Cyril Cusack (as Christina's guardian), Graham Crowden (as a fellow Cardinal), Edward Underdown and Kathleen Byron (as, respectively, Christina's chivalrous father and embittered mother) and diminutive Michael Dunn (in his last film as Christina's enigmatic servant). Celebrated cinematographer Geoffrey Unsworth shoots the opening abdication scenes in moody candlelight, bathes the film in mist during Christina's childhood reminiscences and lends it a sunny look during her liberated passages; Nino Rota's music score is also appropriately sensitive or soaring according to the film's moods. Incidentally, another failed historical/religious charade featuring Liv Ullmann I would like to see is Michael Anderson's POPE JOAN (1972)…who knows if TCM UK will likewise surprise me and provide the opportunity to catch up with it in the not-too-distant future?

A film of suppressed emotions about suppressed sexuality, but more than that, about the nature of love and the power of giving oneself to another, and the tragedy of being unable to. This is a beautiful film, both in how it looks, and how it thinks, it is unrelentingly heartbreaking. Ullman is somehow mesmeric, you can't take your eyes off her, you feel her pain in all its rawness and wonder how one human being can endure so much. Finch's character is a support to hers, it is almost like you care for him only inasmuch as his actions affect her.

This is a movie that will take your breath away, it is profoundly moving (I know what that sounds like but it is).

I'm really not a Liv Ullmann fan, but I was really curious to see The Abdication because of the premise. Made the year after Lost Horizon, she teamed up again with her costar Peter Finch and had scorching chemistry. It was a surprising film, and thought provoking, so if you're interested in religious dramas, you'll want to check it out.

Peter plays a priest, and before you think he has way too much emotion, sex appeal, and bad boy vibes to be convincing, just wait. Liv plays Queen Christina, rebellious, independent, and unpredictable. She abdicates her throne and travels to Rome to study and convert to Catholicism. Because of her wild streak, the Church doesn't take her seriously. They think she's just trying it out as one of her whims, and Peter is tasked with finding out if she is in earnest. Is it really that good of an idea to send a good-looking, passionate priest to a promiscuous, passionate woman? Probably not. The sparks fly, and we start to wonder who is converting and who is abdicating. Even though I don't usually like her, I'd definitely recommend this one.

Though not as regal and alluring as Greta Garbo in her heavily fictionalized biography Queen Christina, Liv Ullmann gives us a different Christina. In The Abdication Liv Ullmann gives us a woman who is seized by her new religion, but her new religion doesn't know quite what to make of her.

It's 1655 and this film kind of takes off where Garbo's Queen Christina ended. Liv's already abdicated and she's arrived at the Papal Court, traveling incognito with only her former dwarf jester Michael Dunn accompanying her.

Eager and willing she arrives saying she's to be a servant of Roman Catholicism. Maybe in the next couple of centuries she would have been welcomed no questions asked. But this was the 17th century the age of the Reformation and Counter Reformation. Religion and politics blended so well in Europe the line was almost erased.

We have to examine her to see if her conversion is sincere. So a dying Pope appoints Cardinal Decio Azzolini played by Peter Finch as a committee of one to examine her as to the truthfulness of her conversion.

There have been many rumors about Queen Christina down the centuries. Her father Gustavus Adolphus brought her up as a ruling monarch to be meaning that a lot of what was considered strictly masculine in those times was open to her. She was educated and also learned the arts of war. Rumors then and now have said she was a lesbian.

But other rumors have her and Cardinal Azzolini as lovers and these are the rumors dealt with here. Finch talks a lot about his temptations in those directions as well. Celibacy is a mighty taskmaster and then and now discreetly not followed.

A lot of the scenes between Ullmann and Finch are what drags this film down somewhat. Just a lot blabbering dialog about religion. Some of the best scenes are the flashbacks that Ullmann narrates about her life. Cyril Cusack as Count Oxenstierna who ruled Sweden in her minority turns in a memorable performance.

The atmosphere of 17th century Rome specifically the Vatican was well done also. The Abdication ain't good history, but passably good drama.

In the 17th century, Queen Christina of Sweden gives up her Protestant throne and journeys to Rome to embrace Catholicism; her past (possibly chequered) as well as her present motives are examined closely by a Cardinal, with whom she falls in love. Ruth Wolff's adaptation of her play is interesting and literate, but director Anthony Harvey unfortunately strives to make a grand spectacle out of what is basically an intimate two-character stage drama (and so we get stand-alone location shots of cathedrals and castles photographed from all different angles). Christina, having been raised since girlhood with a crown on her head, was apparently brought up like a boy, and so Liv Ullmann has been encouraged to be belligerent and impolite (it works for a while, and the lowering of her voice is initially an exciting change for the actress). Peter Finch is unobtrusive as Cardinal Azzolino; he stays out of Ullmann's way, acknowledging her speeches with pensive little smiles (much the same way Finch did in his scenes with Ullmann the year before in "Lost Horizon"). The film certainly had possibilities as a moving platonic-romance story, but it just misses. Nino Rota's ornate score is too insistent (it draws attention to itself), while the flashbacks to Christina's unhappy life back in Sweden begin to feel like speedbumps. Ullmann's Christina becomes too weepy and 'womanly' after declaring her love for Cardinal Finch, though their final scene together is actually quite lovely, meaning the movie does work on occasion. ** from ****