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for a mortal person to the pursuit of immortal, timeless Beauty, which always tantalizes and enchants, and never gives itself over entirely. But Anne and Henry, in Anderson’s play, are not about to elevate their love in that way.
32. Lofts 1963, 233.
33. Ibid.
34. Krutch 1948.
35. Anderson 1977, 70.
36. Ibid.
     
    10. It’s the Anne That Makes the Movie: Anne of the Thousand Days
     
1. Wallis and Higham 1980, 171.
2. Ibid., 163.
3. Ibid.
4. Munn 2008, 174–75.
5. Wallis and Higham 1980, 167.
6. Ibid.
7. Ibid.
8. Ibid., 168.
9. He brought less concern for historical detail to the casting of Irene Papas, who was Greek and very, very dark (the universal movie code, it seems, for “Spanish”).
10. Geneviève Bujold, interview with author, telephone, Lexington, KY, June 21, 2010.
11. Ibid.
12. Hackett 1945, 248.
13. Walker 2003, 71. Laughton maintained, incredibly, that the film, whose liberties with history run rampant (and rollicking), was true to historical fact. When the film was lambasted by some of the British press for presenting a “disrespectful” view of imperial history, Laughton insisted on its authenticity. “Most of the dialogue was copied straight from contemporary records of Henry’s actual words,” he claimed, a bald-faced lie that mattered little to viewers or most critics, most of whom were swept away not by the film’s accuracy, but by the entertaining life it breathed into Henry as a personality.
14. Hackett 1945, 248.
15. Anderson 1977, 74.
16. Ibid.
17. Ibid.
18. Ibid.
19. Although nowadays pop culture tends to call the shots on “reality,” it used to be that it took awhile for movies to catch up with events in the real world. In 1969, Women’s Liberation groups were forming all over the country. But it would be another five years or so before films such as Martin Scorcese’s Alice Doesn’t Live Here Anymore and Paul Mazursky’s An Unmarried Woman would bow, gently, in the direction of a “new woman.” It wouldn’t be until Thelma & Louise (1991) that the deepest gender conventions would be challenged. In Alice Doesn’t Live Here Anymore and An Unmarried Woman, the independence of the heroines (Ellen Burstyn and Jill Clayburgh) is tempered by the presence of two gorgeous, really nice guys (Kris Kristofferson and Alan Bates, each at the height of his appeal) who, it is implied, will remain in the women’s lives, providing support and great sex while the heroines pursue their careers. In Thelma & Louise, in contrast, even the nicest male characters are impotent; despite every attempt, they cannot alter the tragic course of events. The women have chosen, and they—like the rebel males of the earlier films—will have to pay the price.
20. Comment on The Creation of Anne Boleyn Facebook page , August 2, 2011, www.facebook.com/thecreationofanneboleyn . Bujold admits that she was also “telling off” Elizabeth Taylor when she filmed that scene. After hearing rumors about Burton’s interest in Bujold, Liz had unexpectedly shown up on the set that day. “It was all rubbish,” Burton told his biographer, Michael Munn, but it was a “problem for Gin, because she had Elizabeth training her sights on her.” (Munn 2008, 177.) When Taylor showed up on the set, Bujold, as Wallis relates in his autobiography, “was fighting mad” and “flung herself into the scene with a display of acting skill I have seldom seen equaled in my career. Then she stormed off the set.” (Wallis and Higham 1980, 169.)
21. Cate Clement, interview with author, e-mail, Lexington, KY, 2011.
22. Sir William Kingston to Lord Cromwell, in Norton 2011, 245. Modern spelling applied.
23. Ibid. Modern spelling applied.
24. Ibid., 246. Modern Spelling applied.
25. Ibid., 248-49. Modern spelling applied.
26. Canby 1970.
27. Ibid.
28. Simon 1970.
29. “Cinema: The Lion in Autumn,” 1970.
30. Ibid.
31. Harmetz 1970.
32. Solanas 2005, 175.
33. Anne—played by Vanessa Redgrave—is on screen for just a moment, to give Henry