Anonymous
In
Act 2 of Hamlet, His Mopiness comments: “The play’s the thing, Wherein I’ll
catch the conscience of the King.”
The “thing” off course being the proof that his uncle Claudius, the
King, murdered his father, the former king. So Hamlet turns playwright, peppering his play with
references to regicide, then sits back to watch as Claudius’ reaction damns
him.
While
not quite Hamlet, Roland Emmerich, Teutonic King of the Blockbuster, has
fashioned his own rip-roaring tale of a nobleman turning playwright for
political ends with Anonymous, an Elizabethan conspiracy thriller that places the
Bard’s works at the heart of a plot to seize the throne and breathes new life
into the frankly preposterous fringe theory that Shakespeare was a fraud.
It’s
1598 and England is in turmoil.
The elderly Queen Elizabeth (Vanessa Redgrave) is in the twilight of her
reign and refuses to name her successor.
As her duplicitous advisors, William Cecil (David Thewlis) and his
hunchback son Robert (Edward Hogg, boo, hiss), scheme to put James VI of
Scotland (son of her great enemy Mary, Queen of Scots) on the throne,
Elizabeth’s former lover the Earl of Oxford, Edward De Vere (Rhys Ifans),
hatches his own plan to secure the throne for Elizabeth’s bastard son, the Earl
of Essex (Sebastian Reid). Still
with me?
To
do this, he enlists the aid of poet and playwright Ben Johnson (Sebastian
Armesto) whose rabble-rousing plays have already attracted the attention of
Cecil’s secret police. A man who
believes “All art is political!
Otherwise it would just be decoration!” Oxford intends Johnson to act as
a front man; to stage Oxford’s politically-themed plays under his own name in
an attempt to manipulate public opinion in Essex’s favour, thus weakening the
Cecils. Johnson however is
reluctant to take credit for Oxford’s work and instead a swaggering, illiterate
actor snatches the limelight, William Shakespeare (Rafe Spall).
As
Shakespeare becomes the most feted ‘writer’ in all of Christendom and Oxford is
haunted by memories of his youthful love affair with the young Elizabeth (Joely
Richardson), the various plots and political intrigues coalesce, spiralling
towards Essex’s ill-fated, abortive coup attempt and the revelation of painful,
guilty secrets.
Anonymous is nonsense. Before this review goes any further we
need to get that out of the way.
It’s dumb. It’s a big, dumb
Hollywood conspiracy thriller that hinges on some rather sketchy, regularly
refuted, circumstantial evidence.
The kind of evidence beloved by the sort of people who think the 1969
Moon landings never happened, that UFOs are piloted by Nazis who escaped to
Antarctica and that a shadowy cabal made up of the CIA, the Bilderberg Group,
the Vatican and PBS were behind 9/11.
And,
as for factual accuracy, well, Anonymous may as well have been directed by
Michael Moore. It’s fast-paced,
it’s enthralling, it’s persuasive, but, like the documentaries of Moore and his
bastard progeny Spurlock, it never allows the facts to get in the way of its
argument, swapping rhetoric for historical accuracy. Emmerich’s never been a subtle filmmaker (he’s the guy who
built a career on blowing up the White House, for God’s sake!) and has answered
accusations of playing fast and loose with the facts by saying “It’s the mood that
counts,” a statement that echoes the sentiments of The Man Who Shot Liberty
Vance:
“When the legend becomes fact, print the legend.” With Anonymous it’s all legend, not fact.
Omnisexual
poet, playwright, atheist, adventurer and spy Christopher Marlowe (now there’s
a guy who needs his own film!) plays a minor role in Anonymous and, to be honest, the
political intrigues depicted in the film are exactly the waters Marlowe would
have swam in.
Of
course, by the time the film starts in 1598, Marlowe had already been dead for
five years, stabbed in the eye in a Deptford bawdy house by fellow spy Ingram
Frizer, possibly on the orders of Elizabeth’s spymaster Sir Francis
Walsingham. While there’s a dozen
theories about how Marlowe came to meet his end, none of them involve
Shakespeare slitting his throat in an alley in Southwark.
There’s
never been any evidence the Virgin Queen had any illegitimate children (merely
rumours of a liaison with Robert Dudley, Earl of Leicester) let alone that she
had a string of bastards she was so bad at keeping track of that she’d have an
affair with one of them.
While
the Globe, Shakespeare’s theatre did burn down, it happened around 10 years
after the events of the film and there’s never been any evidence that it was arson
let alone arson committed by Cecil’s soldiers.
The
play Richard III plays a pivotal role in the film, stoking mob support for
Essex’s rebellion. In reality, the
play that inflamed the mob was Richard II but it’s less well known, less
quotable. And it doesn’t have any
evil, ambitious hunchbacks.
And
then there’s the small matter of ignoring all the evidence which points to the
fact that Shakespeare’s plays were written by WILLIAM SHAKESPEARE, instead
arguing in the face of all reason that one of the greatest writers the world
has ever known was actually a forgotten Elizabethan courtier. The accusation that Shakespeare didn’t
author his own plays is one born of exclusivity, of snobbishness. How could a man of such lowly origins,
with so little breeding, how could such a common man produce such beautiful work? Why, it had to have been someone of
noble birth.
And
yet…
If
the play is indeed the thing, if Emmerich is right that it’s the mood that
counts, that, above all else, a tale should be well told, then Anonymous succeeds.
It
atmospherically evokes the Elizabethan era and it’s intrigues, creating such a
convincingly authentic world you can almost smell the effluent in the
Thames. While one or two of the
younger cast members betray their lack of experience, the performances are, for
the most part, terrific, Rhys Ifans giving perhaps his finest performance since
Twin Town,
David Thewlis and Edward Hogg shining as his shadowy adversaries and both Joely
Richardson and her mother, Vanessa Redgrave, are wonderful in he dual role of
the Queen while Sebastian Armesto is sympathetic and suitably haunted as
Johnson, the man who knew too much.
As Shakespeare, Rafe Spall just gives us an Elizabethan variation on the
customary whiny, sociopathic buffoon role that seems to be his fallback
setting. But he does make rather a
good whiny, sociopathic buffoon.
The action is exciting, the plays well-staged to punctuate the plot and
Orloff’s script plays with the facts of De Vere’s life, finding parallels with
events depicted in Shakespeare’s plays.
Not
content with casting doubt on the authenticity of Shakespeare, Emmerich and
Orloff throw political machinations, treason, greed, duplicity, illegitimacy,
illicit love, murder and incest into the mix creating a thumping good romp
that’s almost Grecian in its tragedy.
Glossy
and bombastic, Anonymous will have Shakespeare scholars foaming at the mouth but, if you
leave your sense of disbelief (and your sense) at the door, it’s enormous fun.
David Watson
Director
Roland Emmerich
Cast
Rhys Ifans, Vanessa Redgrave, Joely Richardson, David
Thewlis, Edward Hogg, Rafe Spall, Sebastian Armesto, Jamie Campbell Bower,
Derek Jacobi
Written by
John Orloff
Country
USA
Running time
130 minutes
Year
2011
Certificate
12a
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