In November last year it became known that the British Channel 5 was about to shake the foundations and offer a new perspective on English history.
It was about the three-part film “Anne Boleyn”, in which the black actress Jodie Turner-Smith was approved for the main role. When the first stills from the film and photographs from the set appeared in December, it became finally obvious that all tolerance has limits: something similar happens here after another Russian bandit in an American action movie. Simply put, the creators of the picture were cursed in advance, and at the time of the release of “Anne Boleyn” they decided to bring down the rating on iMDb, which is now unique for such a large project 1.1 points.
Russian viewers also did not stand aside: in social networks, authors are scolded at what the light stands, somewhere even condemning columns came out. But here it is still rather by inertia, compatriots, it seems, have not yet completely moved away from the two TV series about Catherine the Great (the one with El Fanning, by the way, will soon have a second season).
“Anne Boleyn” opens with the provocative title “Based on Truth … and Lies”, which sets you up for an energetic revisionist mood, however, in general, there is no radicalism on the screen. The plot covers the last five months of the life of the second wife of Henry VIII Tudor (Mark Stanley). This period is presented albeit briefly (due to timing), but rather neatly. The slightly sinister Thomas Cromwell (Barry Ward) and the future third wife of the king, Jane Seymour (Lola Petticrew), flicker on the screen every now and then. In one of the dramatic moments, Anna puts on a luxurious green dress, and the most educated remember that the text of the famous English folk ballad “Greensleeves“Attributed to Heinrich VIII, who composed poetry during the novel. In the finale, the queen is, of course, executed.
Actually, changing dresses is one of the main attractions of the series. Deaf, strict and at the same time bright outfits of the heroine look stately and modern. Just like Turner-Smith herself in the role of the Queen of England. Of course, in reality this could not be, but the black Anne Boleyn can seriously irritate the black-skinned Anne Boleyn, perhaps, only in two cases: if you are a patriot of Great Britain or if you are in principle a racist. Turner-Smith is a wonderful actress and the main decoration of the picture. She plays her heroine as strong, complex, ambiguous and never turns the screen action into a sermon about progressive values. The skin color of Anna and her brother George (Paap Essiedu, who, by the way, played Hamlet on the stage of Shakespeare’s theater) only emphasizes their otherness, alienation at court. The main and unconditional merit of “Anne Boleyn” is in the understanding that the historical plot is just a canvas for creating your own work. And, if you think about it, it is rather strange to defend the authenticity of events almost 500 years ago with foaming at the mouth: yes, Anne Boleyn was not black, but she was not Natalie Portman (“Another Boleyn Family”) or Amalia Mordvinova (from Lenkom’s play “Royal Games”).
If the series had a little more freedom with the material, dispersed the plot to a metaphor or even a myth, it would have turned out extremely curious. Alas, the creators are limited to one striking heroine, surrounding her with faded rogues, including the king himself. Nevertheless, the measure of conventionality in the mothball-smelling costume movie has obviously been pushed back, which means that in the near future it may become interesting to watch again.
The series can be viewed legally at the Amediatek.
Фото: Sony Pictures Television