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Basil Glynn

fact whilst paying its chief respects to fiction. Put more simply, what is presented as fact is, in fact, fiction.’ 71 27 Henry VIII (Jonathan Rhys Meyers) as a ‘punk-rock’ ruler in The Tudors (Showtime, 2007–10). The disregard for historical veracity in Hirst

in The British monarchy on screen
Open Access (free)
Robert Hamer after Ealing
Philip Kemp

opponent – with the added barb that, this time round, the gay element is displaced on to the baddies. Boyd, a suave, menacing figure, sports a fancy waistcoat, a flower in his button hole and a cockney-genteel accent. His boyfriend doubles as chauffeur and receptionist, a punk-ish youth slouched in a booth leafing through male-physique magazines. The negative attraction between Davidson and Boyd skews

in British cinema of the 1950s
Open Access (free)
Mandy Merck

(Showtime, 2007–10) with a loose pretext for a dramatic update in screen persona, exchanging the ageing fatty in the feathered hat for a punk potentate with pectorals. Chronicling the long history of Henry films, Basil Glynn charts the international appeal of an English monarch impervious to the English virtue of ‘fair play’. The Tudors ’ abiding allure of murder and multiple marriages, as enacted by a multi-national cast against

in The British monarchy on screen