The Private Life of Henry VIII

The Private Life of Henry VIII is a 1933 British biographical drama film directed and co-produced by Alexander Korda and starring Charles Laughton, Robert Donat, Merle Oberon and Elsa Lanchester. It was written by Lajos Bíró and Arthur Wimperis for London Film Productions, Korda's production company. The film, which focuses on the marriages of King Henry VIII of England, was a major international success, establishing Korda as a leading filmmaker and Laughton as a box-office star.

Plot summary

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King Henry VIII (Charles Laughton) and Anne of Cleves (Elsa Lanchester) on their wedding night in The Private Life of Henry VIII

The film begins 20 years into King Henry VIII's reign and covers the last 11 years of his marital life in a series of comedic vignettes. In May 1536, in the immediate aftermath of the execution of his second wife Anne Boleyn, Henry married Jane Seymour, who died in childbirth 18 months later. He then weds a German princess, Anne of Cleves. This marriage ends in divorce after Anne deliberately makes herself unattractive so that she may be free to marry her sweetheart. Henry next marries the beautiful and ambitious Lady Katherine Howard. She has rejected love all of her life in favour of ambition, but after her marriage, she falls in love with Henry's handsome courtier Thomas Culpeper, who had attempted to woo her in the past. Their liaison is discovered by Henry's court and the two are executed. The weak and aging Henry consoles himself with a final marriage to Catherine Parr, who proves domineering. In the final scene, while Parr is no longer in the room, the king breaks the fourth wall, saying "Six wives, and the best of them's the worst."

Production

Alexander Korda was seeking a film project suitable for Charles Laughton and his wife Elsa Lanchester. Originally, the story was to focus solely on the marriage of King Henry VIII and his fourth wife Anne of Cleves, but as the project grew, the story was modified to focus on five of Henry's six wives. Only the first wife, Catherine of Aragon, was omitted because those involved had no particular interest in her, describing her as a "respectable woman" in the film's first intertitles. Korda chose to ignore the religious and political aspects of Henry's reign, as the film makes no mention of the break with Rome and instead focuses on Henry's relations with his wives.<ref name="Lipscomb">Template:Cite web</ref>

The film cost £93,710 which was five times the average cost of a British feature in the early 1930s.<ref>Chapman p 17</ref>

Reception

Box office

The Private Life of Henry VIII was a commercial success. It made Alexander Korda a premier figure in the film industry, and United Artists signed him for 16 films. It also advanced the careers of Charles Laughton, Robert Donat and Merle Oberon (in her first major film role). Laughton would later reprise the same role in the 1953 film Young Bess opposite Jean Simmons as his daughter Elizabeth.

The film earned receipts of £81,825 in the UK, which was not enough to recover its production costs.<ref>Chapman, p 17.</ref> However it was hugely successful overseas, being the 12th-most-successful of 1933 at the American box office<ref>Template:Cite news</ref> and ultimately earned rentals of £500,000 on its first release.<ref>Template:Cite news</ref>

It premiered to record-breaking crowds at New York's Radio City Music Hall and London's Leicester Square Theatre (now the Odeon West End), where it ran for nine weeks from 27 October 1933.<ref>Popular Filmgoing in 1930s Britain: A Choice of Pleasures, Exeter: University of Exeter Press, 2000, pp. 77–78</ref>

Awards

At the Academy Awards, the film was the first foreign picture to win an Oscar (Charles Laughton for Best Actor), and the first foreign Best Picture nominee.

Laughton was voted best actor in a British film by readers of Film Weekly.<ref>Template:Cite news</ref>

Historicity

Accuracy

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Laughton on vintage cigarette card

The Private Life of Henry VIII is credited with creating the popular image of Henry VIII as a fat, lecherous glutton who eats turkey legs and tosses bones over his shoulder (although in the film, what Henry eats is actually an entire capon).<ref>Template:Cite web</ref><ref>Template:Cite web</ref><ref>Template:Cite book</ref><ref>Template:Cite book</ref><ref>Template:Cite web</ref> Historian Alison Weir has pointed out that this image is contradicted by primary sources, noting: "As a rule, Henry did not dine in the great halls of his palaces, and his table manners were highly refined, as was the code of etiquette followed at his court. He was in fact a most fastidious man, and—for his time—unusually obsessed with hygiene. As for his pursuit of the ladies, there is plenty of evidence, but most of it fragmentary, for Henry was also far more discreet and prudish than we have been led to believe. These are just superficial examples of how the truth about historical figures can become distorted."<ref>Template:Cite book</ref>

Catherine of Aragon is excluded from the script because she was a "respectable woman," in the words of the introductory titles,Template:Sfn but the exclusion may have occurred because the real-life Catherine stubbornly refused to allow Henry to marry Anne Boleyn, a fact that might have weakened the audience's identification with the king. The film also does not mention that Boleyn was convicted of false charges of incest with her brother, who was also executed, a fact that might have pitted the audience against Henry.Template:Sfn The film inaccurately depicts Henry marrying Jane Seymour on the same day as Boleyn was beheaded (19 May 1536); in fact, Henry only obtained permission to remarry that day, marrying Seymour on 30 May 1536.Template:Sfn The film's portrayal of Seymour as a vain, stupid, childlike woman contradicts some accounts that the real Seymour was an intelligent woman.Template:Sfn

Anne of Cleves is inaccurately shown in love with another man before she marries Henry, and this is presented as her reason for wanting to end the marriage. The relationship is played for comic effect, but the real process of ending the marriage lasted several weeks rather than over the course of a single night as portrayed in the film. Anne's desire to remain in England is attributed to her love for Peynell in the film, but in reality, her motivation may have been to escape the tyrannical supervision of her stern brother, William, Duke of Jülich-Cleves-Berg.Template:Sfn

According to historical accounts, Catherine Howard was an immature teenager of limited intelligence who did not realize the grave risk involved with her adultery.Template:Sfn However, the film portrays Howard as a mature, intelligent woman who knew the risks of adultery, an inaccuracy that may have been intended to elicit audience sympathy for Henry's decision to have her executed.Template:Sfn

Catherine Parr may also have been inaccurately portrayed; rather than a nagging tyrant, the real Parr was an intellectual with a strong interest in theology and a gentle demeanour who engaged Henry in intellectual discussions about religion in his final years.Template:Sfn

Contemporary echos

Historian Greg Walker has noted that Korda integrated references to contemporary political issues, as the film anachronistically refers to the Holy Roman Empire as Germany and portrays the empire as more united than it really was at the time.<ref name="Walker">Template:Cite news</ref> The frequent wars between Holy Roman Emperor Charles V against King Francis I of France are depicted as examples of French–German enmity, with Henry attempting to act as peacemaker.Template:Sfn The film inaccurately portrays the French fighting Germans in the Habsburg-Valois wars rather than the Spanish.<ref name="Walker"/>

In the interwar period, the Treaty of Versailles was widely considered in Britain to be excessively harsh toward Germany, and successive British governments attempted to promote revision of the Versailles treaty in Germany's favour while also guarding against a resurgence of German militarism.Template:Sfn The Locarno Treaties of 1925 were an attempt to improve Franco-German relations, and evidence suggests that this policy was very popular with the British people.Template:Sfn Henry's monologue warning that the French and Germans will destroy Europe because of their mutual hatred and declaring that it is his duty to save the peace may have been understood by a 1933 British audience as an allegory for the current British policy of leniency toward Germany.Template:Sfn

The film possibly refers to the 1932 World Disarmament Conference and the current debate about rearmament when Henry is warned by Thomas Cromwell that spending on the navy will "cost us much money," to which he retorts that not to spend money on the navy will "cost us England."Template:Sfn Korda disliked the Labour Party's call for disarmament, and Henry's message in the film may have been a rebuke to those who called for Britain to continue with disarmamentTemplate:Sfn and to those in the government who were cutting military spending in light of the Great Depression.Template:Sfn

In the 1920s and '30s, many in Britain bristled at Hollywood's domination of the film industry;Template:Sfn by 1925, only 5% of the films shown in Britain were British.Template:Sfn In 1932, Sir Stephen Tallents called for "The Projection of England", warning that if the British film industry failed to tell its own stories that would define Britain, then Hollywood would do so.Template:Sfn This sparked interest in the Tudor eraTemplate:Sfn and an image of the period as a prosperous, happy time untroubled by class divisions and economic depressions.Template:Sfn The character of John Bull was portrayed as uncultured but kind, boisterous and exuberant, all qualities perceived as typically British.Template:Sfn His lack of sophistication hid a mind that was shrewd and cunning, also a reflection of British self-image at the time.Template:Sfn Korda, a Hungarian immigrant who craved acceptance in Britain, may have ascribed much of John Bull's imagery and traits to Henry VIII in the film.Template:Sfn

Copyright status

Template:Original research section As a result of overlapping changes in British copyright law, the film never fell into the public domain in the UK and its copyright is now due to expire at the end of 2026, 70 years after Alexander Korda's death. In countries that observe a 50-year term, such as Canada and Australia, the copyright expired at the end of 2006.

In the United States, the film's original 1933 copyright registration<ref>US Copyright Catalogue of Copyright Entries, 1933, Volume 6, No. 8, page 361 – 3 November 1933, #7757.</ref> was not renewed after the initial 28-year term, and the film thus fell into the public domain there. As a foreign film still in copyright in its country of origin, its American copyright was automatically restored in 1996 with a term of 95 years from release, meaning that the copyright will expire at the end of 2028.

Bibliography

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See also

• Anne Boleyn in popular culture

External links

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• The Private Life of Henry VIII at AllMovie
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• The Private Life of Henry VIII review at Old Movies