The British have always had a fondness for incognito Kings. Part of the appeal of the story of Alfred burning of the cakes is that the lady who tells him off doesn't know who he is. And of course it was Shakespeare who wrote one of his finest scenes on the nature of kingship with one Henry IV disguised among his soldiers. The British have also had a liking too for Gothic mysteries, a tradition that began with Matthew Gregory Lewis's THE MONK and continues ad infinitum with tours of THE ROCKY HORROR SHOW. Put these traditions together and you have a winner.
John Walsh's debut drama of 2000, MONARCH, now beautifully restored by Freemantle and the team at Premier Post, is a fascinating combination of these two story strands. The film explores a brilliantly simple situation. King Henry VIII has taken refuge in an empty manor house following an apparent assassination attempt whilst on the road. Empty that is except for one lowly servant boy. A strange figure though lurks in the background. It's a premise that inevitably raises many questions. Is the King's life still in danger? Who can be trusted? Is the house all it seems? And who is the mysterious man in black? John Walsh takes all these dramatic questions and with the addition of the necessary elements of macabre and menace, plus the cinematic techniques of high angle camera work and chiaroscuro contrast lighting, turns MONARCH into a truly enticing mystery. Add a ghostly visitation and you're now in truly in the Gothic cinema tradition.
At the centre of the film is TP McKenna's stunning performance as King Henry. Of all the cinematic Henrys this is both the most human and the most convincing. The scene with the boy servant, Will, who does not realise that Henry is king is beautifully observed by both McKenna and Mark Montgomerie. Here is a man and monarch approaching the end of his life who trusts no one, especially not those employed to keep him safe, taking time to confide in and share thoughts with one of his lowliest subjects. Yes, the plot of the film is a whodunit, or more accurately a 'who-will-do-it', but at its heart what the film is about is a dying man facing up to himself and his past. And his ghosts.
We don't actually see much of Henry at the start of the film. We begin with those who have ridden with him on the ill-fated journey that led to some sort of attack on Henry, a group Henry is very suspicious of. Well, if I had been Henry I wouldn't have trusted his entourage either. They all seem to be a bit of a scheming bunch out for themselves. Their bitching and bickering are reminiscent of the underlying camp menace that pervades the James Whale classic Gothic mystery THE OLD DARK HOUSE. Even the jewellery gets in on the act. Never has a dangling crucifix ear-ring on a man-servant portended so much threat and foreboding.
The film was apparently shot in two weeks on a low budget of under fifty-thousand pounds. The extras on the DVD offer a fascinating insight into what can be achieved with just sounds effects and there are very instructive lessons in how to turn an active community day centre into a Tudor manor house with just black drapes to make morning into night. The golden rule with low budget film making is always turn your limitations to advantage. This is exactly what John Walsh does with his location set, Charlton House in Greenwich. Walsh utilises every nook, cranny, attic and even chimney of the magnificent house, making each room almost another character in the unfolding drama. The door creaks too almost seem to have secrets unwilling to be told. The whole feel of the movies has an authenticity that Hollywood certainly couldn't match.
I suppose the ultimate question though on whether a film is any good is does it stay with you? Spielberg often speaks about not just the experience of watching a movie but also the "processing" that goes on after. MONARCH is a film that certainly stayed with me. The strong images (including one of cinema's most graphic killings) are certainly memorable but it shouldn't be forgotten that at the film's heart is a human being facing his end. It is a great credit to John Walsh that this young debut film maker handles this central theme with such maturity and understanding. A great watch strongly recommend.
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