Anyone who has more than a cursory knowledge of Tudor history will, of course, have a bone to pick with the show's historical accuracy, but in terms of its merits as a television show, this is irrelevant. The real Thomas Cromwell was obviously not as virtuous as Mantel portrays him, but it is difficult to create an immersive reading or viewing experience without a main character whom the audience can relate to and sympathise with, at least on some level.
Wolf Hall is absolutely rich with atmosphere. The visuals, the sets, the costumes, the lighting and the camerawork all combine to generate a truly immersive, evocative viewing experience. This is one of the most well-produced period pieces in the history of the genre.
On top of the production values, the acting is superb. Many people have emphasized Rylance's and Foy's performances, both of which are excellent (Mark Rylance is here to redefine the term "understated acting"), but the real stand-out performance for me was Damian Lewis as Henry VIII, whose acting skill combines with Mantel's literary interpretation to give new depth and complexity to one of the most complicated figures of the Renaissance.
Instead of portraying Henry either as a one-dimensional villainous tyrant or as a sympathetic figure, Wolf Hall illustrates as close an approximation to what we know of the real Henry as I have ever seen: A man of great intelligence and very poor impulse control, emotionally immature and easily manipulated, but also grandiose, arrogant, narcissistic and resentful. An adolescent King who never really grew up, being endlessly pulled in a hundred different directions at once, both by his own desires and contradictory motivations, as well as the competing agendas of his advisors.
If the goal of this show is to provide audiences with a fresh perspective on the events of the 1530s in England, it is a runaway success. Choosing Thomas Cromwell as the protagonist may present problems of accuracy, but it also provides a unique sounding board that brings to life many of the other characters the show features, illustrating how the personalities of Henry, Anne, Thomas More, Cardinal Wolsey and others shaped the events of the period.
There is not a single poor performance by any actor, from Anton Lesser's sadistic More to Mark Gatiss' smug, manipulative Bishop Gardiner to Bernard Hill, who must have had the time of his life playing the fabulously foul-mouthed Duke of Norfolk, whose every threat involves some form of mastication.
Wolf Hall is absolutely rich with atmosphere. The visuals, the sets, the costumes, the lighting and the camerawork all combine to generate a truly immersive, evocative viewing experience. This is one of the most well-produced period pieces in the history of the genre.
On top of the production values, the acting is superb. Many people have emphasized Rylance's and Foy's performances, both of which are excellent (Mark Rylance is here to redefine the term "understated acting"), but the real stand-out performance for me was Damian Lewis as Henry VIII, whose acting skill combines with Mantel's literary interpretation to give new depth and complexity to one of the most complicated figures of the Renaissance.
Instead of portraying Henry either as a one-dimensional villainous tyrant or as a sympathetic figure, Wolf Hall illustrates as close an approximation to what we know of the real Henry as I have ever seen: A man of great intelligence and very poor impulse control, emotionally immature and easily manipulated, but also grandiose, arrogant, narcissistic and resentful. An adolescent King who never really grew up, being endlessly pulled in a hundred different directions at once, both by his own desires and contradictory motivations, as well as the competing agendas of his advisors.
If the goal of this show is to provide audiences with a fresh perspective on the events of the 1530s in England, it is a runaway success. Choosing Thomas Cromwell as the protagonist may present problems of accuracy, but it also provides a unique sounding board that brings to life many of the other characters the show features, illustrating how the personalities of Henry, Anne, Thomas More, Cardinal Wolsey and others shaped the events of the period.
There is not a single poor performance by any actor, from Anton Lesser's sadistic More to Mark Gatiss' smug, manipulative Bishop Gardiner to Bernard Hill, who must have had the time of his life playing the fabulously foul-mouthed Duke of Norfolk, whose every threat involves some form of mastication.