Queen Christina of Sweden is a fascinating character; the only surviving child of the great Gustav II Adolph, she inherited the throne when he died in 1632. Once she came of age, she led Sweden out of the Thirty Years’ War and generally established a reputation as one of Europe’s weirdest and most interesting monarchs. She loved philosophy and learning, corresponded with Descartes, had all sorts of court intrigues, rejected the dress and behaviour expected of her as a woman, refused to marry and ultimately converted to Catholicism and abdicated the throne.
The problem of this film is, of course, that Christina’s actual life is much stranger and more interesting than this film wants to make it. It has a lot of good bits, but ultimately a voyage of philosophical discovery just isn’t all that cinematic an experience. It has a couple of additional problems: it’s in English, but most of the actors aren’t native English speakers, so it feels a little stilted and clumsy. It doesn’t feel like it can assume much knowledge about Swedish history on the part of its audience (probably fair), so it explains everything from the ground up, necessarily simplifying it. It’s also committed to telling as much of the story of Christina’s reign as possible, which means that everything feels a little … compressed.
Of course, the thing that attracted the most attention about this film when it came out is that its central love story is between Christina and one of her ladies in waiting, Countess Ebba Sparre. This is one of those suspected relationships that is impossible to prove but looks not unlikely, and it seems to be the thing about this film that made the most lasting impression on fans and critics — both because it’s a historical drama with a relationship between two women at its centre (rare enough) and because it’s the only part of the plot that the film really gives any weight to, which is weird considering there’s all this fate-of-nations stuff going on.
But there are discrepancies in this plotline, presumably created to make Christina more sympathetic. For instance, in the film Sparre’s marriage is shown as something ginned up to separate Christina from her lover. In reality it happened at Christina’s instigation, which suggests a more complex attitude on the queen’s part.
So The Girl King feels rushed, and rushed in a way that gives it a weird emotional tone; it can only hit the highlights, so everything is turned up to 11 all the time. It lurches from exposition to crisis to confrontation to more exposition, with too little time to let its setting and characters breathe. It has some good performances, including Malin Buska as Christina and Patrick Bauchau as Descartes, but overall it feels jumbled. And it still leaves out most of her life, an eventful time that would just retroactively complicate things further.
I did like the little touches: the flock of sheep outside the cathedral was my favourite.