I’m not a Shakespeare scholar. I probably know more than
most people but I certainly can’t claim any intimate knowledge of his life and
work. I know enough to say that the alleged controversial question of
authorship of his works is complete and utter bunk, in spite of what
Shakespearean actor Derek Jacobi believes. The issue strikes me as little more
than the common disbelief among those who have spent lots of time and money on
formal education that someone with a lesser education could possibly possess
such genius. A major part of the argument has been that Shakespeare’s education
was insufficient to prepare him for works containing classical allusions and
such. As far as I’m concerned this is no different to any modern day conspiracy
theory that suggests for instance that we never really went to the moon and
that George W. Bush personally flew airplanes into the World Trade towers.
I’m also pretty sure neither Roland Emmerich nor John
Orloff is a Shakespeare scholar, but that didn’t stop Orloff from writing a
screenplay based on the controversy and Emmerich from directing it. Anonymous is such a bald-faced travesty
of historical accuracy and even if it weren’t it would remain a very bad film.
But this should come as no surprise to anyone familiar with Emmerich’s previous
work in the disaster film genre. Films like Independence
Day, Godzilla, and 2012 have proven again and again that
his primary goal as a director is to fill the screen with bombast. This time,
instead of using guns, explosions and crevasses opening in the earth, he’s
created chaos by attempting to stage and Elizabethan drama. I wasn’t sure there
was a director who could draw a bad performance from Vanessa Redgrave, but now
that mystery has been solved.
Anonymous
begins with Jacobi arriving late to a New York theater where he’s meant to be
the prologue narrator to a historical stage drama about this very controversy
in which the 17th Earl of Oxford is the real author behind the works
attributed to William Shakespeare. As the lights fade on Jacobi, they rise on
the period costumed actors behind him and through the magic of cinema we are
transported back to Elizabethan England, recreated using murky CGI that makes
not only the London weather seem dreary and gray, but the settings as well. I’ve
been to London and can say unequivocally that the sun does occasionally shine.
The drama unfolds with a young man running through the
streets of London holding a folder full of papers while being pursued by
guards. He takes shelter beneath the stage in a theater and stashes the
manuscripts in a chest while the guards burn the building around him. He is remanded
into custody in The Tower (of London, that is) where he is questioned under
minor torture for the manuscripts. We then flash back “5 Years Earlier” when
this same young man, the Shakespeare contemporary playwright Ben Jonson
(Sebastian Armesto), is struggling just to achieve the notoriety of Kit
Marlowe, and Shakespeare himself (Rafe Spall) is a bumbling and foolish idiot
of an actor. Here we find one of the film’s most glaring errors – Christoher Marlowe
was already long dead when the events of this film take place.
As the action progresses we’re introduced to a wide range
of characters in both the world of London theater and the Elizabethan Court,
where Rhys Ifans plays the Earl of Oxford and Redgrave is Queen Elizabeth. She
is presented as a doddering old coot who loves seeing silly plays performed for
her including A Midsummer Night’s Dream
which reminds her of a play she saw performed at court and written by the child
Oxford 40 years earlier. I’m not joking when I say that the movie flashes back
again to that time. So we have a movie that began in contemporary New York that
shifted back to the earlier 17th century only to flashback 5 years
and THEN goes back another 40. This becomes exhaustibly confusing trying to
keep all the timelines straight especially when Jonson is arrested in the third
timeline and suddenly we’re not sure when we are.
For the scenes set at Court, it helps that Redgrave’s
real life daughter Joely Richardson plays the Queen as a young woman and David
Thewlis as her Royal Treasurer William Cecil plays both the middle-aged and
elderly versions of his character but under heavy age makeup us the latter. It
turns out the Cecils, William and his son Robert (Edward Hogg) are behind the
plot to keep the secret of Oxford’s writing. It involves affairs and
illegitimate children by Elizabeth, a plot to keep Oxford married to William
Cecil’s daughter and to facilitate James of Scotland’s ascent to the throne in
spite of Elizabeth’s protestations.
I would relate more of the plot and how it all
contributes to this absurd idea that Oxford was the man who actually wrote all
those wonderful plays, but it’s hardly worth the time because Orloff didn’t
even bother putting in the necessary time to support it with a decent
screenplay. He tries his very best to be clever in a Shakespeare in Love kind of way by inserting what I’m sure he
thinks are sly references to Shakespeare’s works, but unlike Tom Stoppard, who actually
knows something about Shakespeare, his witticisms fall flat.
At its core, Anonymous
is a political thriller set 400 years in the past. It just has the unabashed
gall to couch it in a dreadful rewrite of history.
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