MARGRETE, QUEEN OF THE NORTH

Denmark, 2022, 120 minutes, Colour.

Trine Dyrholm, Soren Malling, Morten Hee Anderson, Magnus Krepper, Thomas W Gabrielsson, Agnes Westeerlund Rase, Paul Blackthorne.

Directed by Charlotte Sieling.

1400. Europe. Conflicts, war – and possibilities for peace.

This is a period after the ravages of the 14^th century Black Death, uncertainties in Europe (as seen in the recent Czech film, Mediaeval), difficulties with Rome, popes and anti-popes. In France, the hundred years war and Joan of Arc soon to be put to death. However, as the century progressed, greater order throughout Europe and the opening up of the Renaissance.

Audiences outside Scandinavia will not be familiar with Queen Margrete, her achievements for peace and the unity of the Scandinavian countries – and threats to undermine the Union, especially on the part of Germany and the Teutonic Knights.

This is a sombre dramatisation as well as reflection on the use of power, the desire for power, exploitation by power.

Distinguished Danish actress, Trine Dyrhom, is the perfect embodiment of the Queen who has worked for peace, been able to bring different factions together. This is illustrated in the opening long sequence where she makes a speech about peace and demands, in loyalty, a strong peacekeeping force from all the nations. And they agree, providing infantry, archers. And, significantly at this time of European history, the power of the church and its influence is acknowledged.

So, by 1402 when this film is set, all seems well. There is a sad past, the death of the Queen’s son, Oluf, and Margrete bringing the grandson of her sister from Germany, renaming him Erik, and setting him on the throne, young as he is.

This is a very interior drama, most of the action taking place within the castle, some vistas of the castle itself, on a peak, and the sea, to give us a sense of location. And, the cinematography emphasises the darkness, the lighting design to indicate that these were the times of candles, rooms and people seen clearly, darkened, shaded.

And at the core of the drama is political intrigue, the influence of the Germans, betrayals within the court, the role of the very influential church leader and his influence on Margrete and her reliance on him, the planning of a marriage between Erik and an English Princess.

And at the core of the political intrigue is the reappearance of Margrete’s son, allegedly dead for 15 years, the question as to whether he is the real son who ought to be on the throne instead of Erik, the challenge to the inexperienced Erik who can easily be led, evidence attesting to the authenticity of the reappearing son, evidence against him.

Which means that this is a period drama that requires constant attention to follow the steps of the intrigue, which requires some empathy for Margrete and her disavowing this son, then supporting him. And, through all of this, the Queen, like rulers of the time, uses advisers, asks people to spy on others, tries to hold the union together.

But, at the end, while the issue is solved for 1402, information at the end of the film indicates the elements of mystery which still remain, and the burning of all the documentation of this episode.

1. Mediaeval history? Audience knowledge? Scandinavian audiences? Worldwide audiences – and supplying of background information?
2. The experience of the 14^th century, the black plague, this version of the papacy, Avignon? The Catholic background? Moving into the 15^th century – power, kingdoms, alliances, and the emergence of the Renaissance?
3. The settings, recreation of the period, the emphasis on costumes, the castle and exteriors, the beach? The film and its interiors, the rooms of the Castle, meeting rooms, banquets, dungeon rooms? The feel of the period? The musical score?
4. The background of the union and Margrete’s achievement? Illustrated in the long opening sequence, the Queen holding court, Erik as King present, young, listening? The leaders of the neighbouring kingdoms, the request for troops and support, their discussions, their agreements, pledges? And Germany as the common enemy? And the role of the church advisors? And the Church supplying means and arms and troops?
5. The character of the Queen, age, experience, strength of character, the union, the grief of the death of her son 15 years earlier, the decision to bring Erik from Germany, installed him as king? Expectations?
6. The range of courtiers from the other countries, loyalties, some undermining the Union? The conspiracy to bring back the dead son and the consequences for the union?
7. Erik, his age, wilful, arrogant? His relationship with the Queen? Sexual activities, the young German maid, captured, her role in the household, the Queen asking her to spy on Erik, the sexual liaisons, his devotion, the experience, the later denunciation and her punishment? Erik, his friends, training in the arts, fights, and the traitor giving him advice?
8. The Queen’s suspicions of the German present at the meetings, getting the knight to follow him, the connections with the pirate, his character, activities, going on the journey, pursuing the German, confronting him, the attack, getting the truth? The going to the court, returning with the news about the traitor?
9. The arrival of the Queen’s son, 15 years missing, the Queen and her disbelief, interrogating the young man, his being a captive, his responding as her son? The varieties of belief and disbelief in the courtiers? The nurse brought in for testimony and her saying she had trained him to sing, an imposter? The Queen, meeting with him, reflecting, her need for her son, accepting that he was the real son?
10. Conspiracirss in the court, turning against the Queen, Erik turning against the Queen, his reaction to being spied on, turning against the Queen?
11. The plans for her escape, the various nobles, in the Castle, outside the castle?
12. The final decisions about her son or imposter, the condemnation, his being burnt by fire?
13. Erik, the effect of the conspiracy, his power? The role of the Queen, the future?
14. The union surviving for many decades even after this conspiracy?
15. And the information that the documents were burnt with the imposter, and the details of the truth not known?