MARY QUEEN OF SCOTS.

The new version of MARY QUEEN OF SCOTS has been met with varying reviews, the common criticism being that the movie is historically incorrect as in the two main characters Mary and Elizabeth never actually met. Well yes that is absolutely correct, but ponder this. How would have the storyline opened up and developed if the director had decided to be accurate and not let the two come face to face, would they have told it through a series of letters being shown on screen? I found the film entertaining and yes although Historically incorrect on a few things I still enjoyed it. The film also contains a pretty interesting musical score by composer Max Richter, he is a composer that I have to admit I am beginning to grow more and more fonder of with the release of each new score or musical work. I realise that many people will be comparing Richter’s soundtrack to that of John Barry’s score for the1971 version of this Royal tale of intrigue, skulduggery and betrayal. But for me there is no comparison to be made, as each are different and I have to say excellent in their own ways But it is the Richter score I am here to talk about. I found my self being drawn further and further into the soundtrack as it built and progressed, the composer creating and fashioning some striking and suitably regal sounding musical themes throughout its duration. Although this is a powerful work it is also a slightly fragile and understated score in places, but this I think adds to its appeal, the composer never seeming to overstep the mark and allowing the film itself to breath and the acting and cinematography to remain the main focus of the audience. In Richter’s score we hear the despair and the anxiety felt by the central characters, and the frustration, anger and the sadness that makes the story so fascinating, Interesting and compelling. The lighter and more uplifting moments of the soundtrack do however shine through at key moments along the way, keeping this a fresh and vibrantly beautiful work. There is certainly darkness and fearfulness purveyed by the ominous driving strings that are supported and punctuated by apprehensive percussion on more than one occasion, but these more sinister and dramatic moments are complimented amply by rich and haunting musical lines that envelop the listener. When hearing Richter’s score one knows that maybe all is not well because of the underlying sombre atmosphere but the music remains emotive and melodic, so lulls one into a false sense of security simply because the simplicity of the music is so rewarding and mesmerising. The composer has in my opinion done an excellent job on this movie and I recommend it without reservation.