Edward VI's Georgian Coronation

On Tuesday, Turner Classic Movies aired a series of Errol Flynn movies including Captain Blood, The Adventures of Robin Hood, The Sea Hawk, and The Prince and the Pauper. Based upon Mark Twain's historical comedy novel, the story in the latter movie takes place after Henry VIII's death when his son Edward trades places with a poor boy named Tom Canty. Evil Edward Seymour, the Earl of Hertford, played by Claude Rains, takes advantage of the confusion to use the fake Prince as his pawn while Miles Hendon, Errol Flynn, protects the real king. The boys are played by brothers, Billy and Bobby Mauch, who seem several years older than the historical Edward's nine years at the time of his coronation.

Warner Brothers intended The Prince and the Pauper to be released in time for the coronation of Edward VIII, but because Edward wanted to marry Wallis Simpson, he abdicated and the coronation--now of his younger brother George--and the release of the film were delayed until May of 1937.

The Coronation Scene, which is very detailed and gorgeously filmed in black and white, is a set piece. Although the real Edward and Miles are on their way to Westminster Abbey, the director had no interest in creating any tension--there are no cuts to Edward and Miles coming closer as the anointing and the coronation of the fake Edward is proceeding. They arrive with seconds to spare! 

 A footnote in this book, which describes how Erich Korngold composed his own version of the coronation anthem, "Zadok the Priest", includes the promotional detail that this scene would be similar to the rites in King George VI's coronation so much so that "Those of us who are not fortunate enough to be able to see the actual rites, will witness an accurate picture of what will occur in Westminster Abbey in May."

So instead of trying to achieve authenticity to the historical coronation of Edward VI, the producers opted for authenticity to the contemporary coronation of George VI! 

I also found it amusing that Edward trusted Thomas Howard, the Duke of Norfolk most of all and that he exiled his historical Protector, Somerset (Claude Rains) at the end of the movie. The anniversary of Somerset's execution is coming up--January 22, 1552.

Cosmo Lang, Archbishop of Canterbury

I watched The King's Speech on DVD last night, and noted again the role of the Archbishop of Canterbury, played by Sir Derek Jacobi. Cosmo Lang was the Archbishop who buried George V, excoriated Edward VIII after his abdication, and crowned George VI and his wife Elizabeth--and Elizabeth II, too. He is not portrayed very sympathetically in the movie: a bit of a prig about Lionel Logue, etc--and this reviewer of a biography of an Archbishop of Canterbury who reigned over the Church of England during a crucial modern era notes that portrayal:

'I HATE Cosmo Lang!’ exclaimed a member of the audience when Robert Beaken spoke to a seminar at the IHR about Lang, archbishop of Canterbury and subject of this important reassessment. As Beaken rightly notes, Lang’s reputation has suffered in the years since his death. His time as archbishop (1928–42) spanned years of economic depression, the rise of fascism, a royal abdication and the outbreak of world war. But, despite this, the prevailing picture has been of a figure caught in the headlights, reactive rather than in the lead, a puritan and a snob; this image has not been altered by his portrayal (by Derek Jacobi) in the recent film, The King’s Speech. Lang’s case was not helped by the biography by J. G. Lockhart, published in 1949. Written without any particular acquaintance with Lang or access to his official papers, Lockhart’s book has long been unsatisfactory, but it has taken until now for a replacement to appear; and Beaken’s study goes a long way towards superseding Lockhart and presenting Lang afresh.

The book has three primary concerns: with Lang’s relationship with the monarchy; with the disputed process of liturgical reform within the Church of England; and with the Second World War. Chapter seven deals with the last, presenting a panoramic view of Lang’s work in the first and darkest days of the war, when Lang was in his mid-70s. Beaken very effectively documents Lang’s interventions at the highest level: in the articulation of peace aims; in negotiating the rhetorically difficult transformation of Soviet Russia from enemy to ally; in articulating the need for national intercession and for remembrance of the 1914–18 conflict in changed circumstances. There are important refinements to the literature in relation to Lang’s early opposition to the obliteration bombing of Germany (191–3), and (in response to the work of Tom Lawson) concerning who knew what and when within the Church in relation to the Holocaust (206–7).

But these national affairs were not the limit of an archbishop’s concerns. Beaken very effectively documents Lang’s interventions in relation to refugees, evacuees and conscientious objectors, to venereal disease in the army abroad, and to the observance of the Sabbath at home. Lang was supportive of the government and the war effort because he strongly believed that the struggle was a just and necessary one. At the same time, there were limits to what could be morally acceptable even in war, and Lang intervened in private and public as far as there was any likelihood of those efforts being effective.

Read the rest here, including the author's response to the review.