She sparkles with deception, daring to flaunt passion as well as ambition. Adapting a novel by Philippa Gregory, Morgan imposes a structure that is nearly always visible — far more so than in his modern political dramas like The Queen or the rise? She will have the king after all, but on her own terms. He returns, in a huff, to the royal court, and the only way that the family can get back in his good graces is to offer up its other daughter, the wholesome, honey blond Mary Scarlett Johansson. The Other Boleyn Girl.
Yet the quality that Morgan, as a screenwriter, is most drawn to is the power of persuasion — the kind that intrigues with its duplicity, that harvests bold choices from limited opportunities.
The Other Boleyn Girl
Adapting a novel by Philippa Gregory, Morgan imposes a structure that is nearly always visible — far more so than in his modern political dramas like The Queen or the rise? Few actresses know how to submit with the parted-lip sensuality of Scarlett Johansson. Henry, after countless mistresses, is supposed to finally fall hard for the one woman who will stand up to him. The Other Boleyn Girl offers the pleasures you want, and expect, from a middlebrow royal-court soaper. It was written by Peter Morgan, and here, as in the two celebrated films he scripted in — The Queen and The Last King of Scotland — Morgan displays a breathless fascination with the lace-on-steel intricacies of power. He turns gossip into art, or tries to. As Henry, Eric Bana, huge and mighty and bearded, his eyes aglow, wears his big square layers of decorative fabric with majestic physicality.