There are things to like about Mary Queen of Scots, it’s too bad direction and character development aren’t among them. Visually there are moments of vivid inspiration which are rich with deeply saturated colors and interesting lighting set-ups. I wish this creativity were enough to carry the rest of the film, but they’re too few and far between to muster up anything other than an annoyance by contrast. What’s attempted is an epic, decades-spanning tale of intrigue and betrayal among 16th-century Scottish royalty, but that’s not what we get. Instead, we’re given a meandering and clumsy film with no sense of purpose or motivation.
The plot is simple even though it’s trying to be complex. Mary (Saoirse Ronan) has returned to her native Scotland to reclaim her throne. It so happens she also has a claim to the throne of England, currently held by her cousin Elizabeth (Margot Robbie), causing much paranoia from the Queen and her court. Backstabbing and political maneuvering naturally ensue as multiple factions vie for power and influence.
On paper, there’s nothing wrong with this premise. In fact, there’s plenty of room for some compelling storytelling, but unlike films like 1995’s Braveheart (the Scottish setting, among other things, make this comparison inevitable), whose character motivation is made crystal clear, Mary never gives us a reason to concern ourselves with who wins or loses. I don’t get who Mary or her enemies are. Sure, everyone wants to rule as King or Queen, or what-have-you, but the back and forth shenanigans and double-crosses become tedious. Pulling off stories like the one attempted demands proper character development and expert exposition, and it’s just not there. Without knowing the “why” and the “how,” we’re left with a big “who cares?”
Aside from some stilted dialogue, Ronan and Robbie come alive as best they can with what they have to work with – Robbie especially. Her appearance after a bout with smallpox becomes increasingly bizarre, as does her attitude and mannerisms. Mary would have benefitted from a better back and forth between the two cousins – a compare/contrast of their lives if you will – but instead, we’re left with mere glimpses of Robbie’s Elizabeth. Their one and only face to face meeting is a good scene but again would have been strengthened by more direct characterizations.
Mary Queen of Scots does, for the most part, look fantastic. I have no qualms with its Oscar nominations for make-up, hairstyling, and costume design. I’m often a sucker for these types of period pieces, and there are charms by which to be wooed, but Mary’s lack of coherency and lackluster storytelling outweigh much of its potential magnetism. If you’re looking for sharp costumes and crazy hairstyles, by all means, enjoy yourself. If it’s an engaging drama you’re after, look elsewhere.
James is a writer, skateboarder, record collector, wrestling nerd, and tabletop gamer living with his family in Asheville, North Carolina. He is a member of the Southeastern Film Critics Association, the North Carolina Film Critics Association, and contributes to The Daily Orca, Razorcake Magazine, Mountain Xpress, and Asheville Movies.