| Edward II | |
|---|---|
 Theatrical release poster | |
| Directed by | Derek Jarman |
| Screenplay by | Ken Butler Derek Jarman Stephen McBride |
| Based on | Edward II byChristopher Marlowe |
| Produced by | Steve Clark-Hall Antony Root |
| Starring | |
| Cinematography | Ian Wilson |
| Edited by | George Akers |
| Music by | Simon Fisher Turner |
Production companies | |
| Distributed by | Palace Pictures[1] |
Release date |
|
Running time | 90 minutes |
| Country | United Kingdom |
| Language | English |
| Budget | £750,000 |
| Box office | $694,438[2] |
Edward II is a 1991 Britishromantichistorical drama film directed byDerek Jarman and starringSteven Waddington,Tilda Swinton andAndrew Tiernan. It is based on theplay of the same name byChristopher Marlowe. The plot revolves aroundEdward II of England's infatuation withPiers Gaveston, which proves to be the downfall of both of them, thanks to the machinations ofRoger Mortimer.
The film is staged in apostmodern style, using a mixture of contemporary andmedieval props, sets and clothing. (The date "1991" appears on a royal proclamation at one point.) Thegay content of the play is also brought to the fore by Jarman, notably by adding ahomosexual sex scene and by depicting Edward's army asgay rights protesters.
Once installed as king, following the death of his father, Edward II summons his friend and lover,Piers Gaveston, back to England from exile abroad, and showers him with gifts, titles, and abiding love. Their relationship is fiery and passionate, but it is the focus of gossip and derision throughout the kingdom. Upon his return, Gaveston takes revenge on the Bishop of Winchester, who had been responsible for his banishment from England during the previous reign, by personallytorturing him. Kent, Edward's brother, is the first to protest about Gaveston's return. Many others feel the same way, including the Bishop of Winchester andLord Mortimer, who is in charge of the kingdom's military forces. Nevertheless, Edward defends his lover from his mounting enemies.
A pleasure-seeker, Edward is quite distracted from the affairs of the state, much to the distress and anger of the court (somber men and women in business suits).Queen Isabella, Edward's French wife, vainly tries everything to win him back from his lover but is mercilessly rejected by her husband. Love-starved, Isabella turns to Gaveston, who inflames her desire by whispering obscenities in her ear and then mocks her responsiveness.
The handsome, hedonistic, and opportunistic Gaveston repels everyone except the King. His enemies join forces and threaten Edward with dethronement and exile; Edward is forced to comply with their wishes and sends Gaveston away. The lovers' separation is serenaded byAnnie Lennox’s rendition ofCole Porter's "Ev'ry Time We Say Goodbye".
The queen hopes that once Gaveston is away she can reconcile with her husband, but he rejects her once again. In a last effort to regain her husband's affection, she allows Gaveston to return. The king and his lover resume their relationship, but their enemies are ready to strike back.
Isabella and Mortimer, who has become her lover, plan to rule the realm through Edward and Isabella's young son, the futureEdward III. When Kent tries to save his brother, he is murdered by Isabella. The nobles are soon plotting to get rid not only of Gaveston but also the king. Mortimer, their leader, is a military man and practicingsadomasochist who takes a grim pleasure in personally torturing Gaveston and the lovers' friend Spencer, whom he addresses as "girl boy." Their torture takes place while there is a clash between the police and members of the British gay rights organisation Outrage.
After Gaveston and Spencer's assassinations, Edward, who has been thrown in a dungeon, is executed by impalement on a red-hot poker. This hideous fate is presented as a nightmare from which the imprisoned king awakens. The executioner, when he does arrive, tosses away his lethal weapon and kisses the man he was sent to kill.
Back in the castle, Mortimer and Isabella enjoy their triumph just briefly. The king's young son, Edward III, who all along has been neglected by both parents and who has witnessed their quarrels, has donned his mother's earrings and lipstick and, while listening to classical music on hisWalkman, walks atop a cage that imprisons his mother and Mortimer.
The film received positive reviews from critics. It currently holds a 100% score on the review-aggregator siteRotten Tomatoes.[3]Rolling Stone called it "a piercing cry from the heart"[4] andThe Washington Post praised Jarman for "keeping the story streamlined and potently clear while retaining Marlowe's poetic period language".[5]The Observer called it one of "Derek Jarman's most accomplished films".[6] The film has been considered a classic example ofNew Queer Cinema.[7]
Jarman's use ofanachronism caught the attention of many critics.The Guardian mentions that "historical and modern" timelines intersect in the costuming, the portrayal of Edward II's army, and the soundtrack.[8] The latter is perhaps the most startling of the anachronisms in the film as it is mentioned in several articles yet never critiqued.The New York Times writes, “One of the oddest touches is the out-of-the-blue appearance of the singer Annie Lennox wistfully crooning Cole Porter's "Ev'ry Time We Say Goodbye"”.[9]Cole Porter was closeted for reasons that can be paralleled to Edward II's queer lifestyle, as “public knowledge of his sexuality, Porter feared, could compromise his success".[10] Similarly to Edward II, and "like many gay public figures, Porter married a woman for convenience”.[10]The LA Times reflects that Porter "was aware that if you disclosed too much in Hollywood, you were likely to lose your job-- and your audience".[11] However, Porter and Edward II differ as Porter remained closeted and Edward II (as summarised) was willing to risk his status to be with his lover, Gaveston. Jarman's choice of artist,Annie Lennox, to sing Porter's song is anachronistic in and of itself; the film provides a structure in which two different points in time intersect,1944 and 1991, represented by someone who fears queerness[11] and then by someone who advocates for the rights of the LGBT community.[12] In fact, Lennox sang the song for the "film Edward II after recording it for the Red Hot + Blue AIDS awareness tribute album to Cole Porter”.[13] Regardless of reasons why Porter and Lennox were included in the film, it was recognised in a positive light.The Washington Post wrote that Jarman's "decision to have Annie Lennox serenade the departing Gaveston and his lover with a rendition of Cole Porter's "Every Time We Say Goodbye" is a brilliant stroke; it's Marlowe meets MTV".[13]