Edward II

Ya know that scene in Being John Malkovich, where he goes into his own mind and everyone inside says nothing but "Malkovich Malkovich, Malkovich?" I felt that way watching this movie. Through the whole movie, I heard pretty much nothing but "Gaveston? Gaveston, Gaveston? Gaveston!" It's not that the movie's difficult to understand because of the Elizabethean language. I'm a huge fan of Shakespeare's plays, having read a number of them and seen plenty of film adaptations of them, so I can follow Elizabethean dialogue. But this... well, it ain't Shakespeare. Christopher Marlowe's style doesn't have the poetry or fluidity of Shakespeare. He didn't have Shakespeare's genius. Which makes this movie tough on the ear: boring, in fact.

I'm occasionally tempted to watch this movie again, just to see if maybe it DOES have something to redeem itself, perhaps something I missed... and maybe I will, someday. But for now, I'll stick with Branagh's Much Ado About Nothing.

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.

I've watched this movie at least half a dozen times while adapting and directing my own stage version of this brilliant, but somewhat long-winded and un-focused Marlowe play. That said (and my bias revealed), I have to admit that I don't care much for this film- though I do admit it has some strengths- namely the visual elements, which reflect the director's background as a painter (he knows how to frame and arrange a shot, and he picks beautiful lines and colors to illustrate his story). Tilda Swenton's performance is amazing (has she ever been bad?) and provides the emotional thrust of the movie- we believe she wants Edward so badly that she's willing to kill him so no one else will have him. Unfortuneately, Gaveston just comes off as a twisted psychotic and Waddington's performance as Edward renders the king weaker than Marlowe writes him, and yet devoid of the inner vulnerability that ultimately makes the King sympathetic- I never once believe they really love each other, let alone madly enough to topple a whole nation. But plot and character don't seem to be a priority of the film as much as statements about gay rights and strange, arty and really heavy-handed intrusions. Too bad, really. There's so much to be dug out of the script- and some of those gems DO appear in this film... but so many seem not only undiscovered, but lost in a lot of camp, confusion, violence and raw, un-erotic sex. Don't get me wrong- the film is worth seeing... I just hope that one day, I get to make a new interpretation.

What an exhilarating, entrancing, searing piece of work. Oh, it did cost me a bit to go along with the dialogue so easily, but the whole thing was just fantastic. The ensemble cast seems to be having the time of their lives speaking all of these juicy dramatic lines. Tilda Swinton, especially, manages to go beyond my expectations to deliver an all-time worthy performance. This is what she's best at, this sort of icy, hypnotizing, ethereal role, and she more than delivers. In a film full of wonderful performances, she stands at the very top. The whole thing is just completely and utterly mesmerizing, impossible to look away.

Edward II makes a brilliant hodge-podge of history by vaulting a sixteenth century play about a fourteenth century English king onto a dark, abstract twentieth century stage. Iconoclastic, yes; anachronistic, yes; imbecilic, no. While on the page Marlowe's poetry speaks for itself, in director Derek Jarman's hands it provides a counterpoint to the film's daring, elegant, eloquent visuals. King Edward and his lover, Piers Gaveston, are attacked by the raving heteronormative toffs for their homosexuality and Gaveston's less-than-aristocratic background. Great moments include a cameo by Annie Lennox and a bull's-eye by Tilda Swinton.