Jarman keeps the language but takes the story out of its 14th-century timeframe, fills it with anachronisms, presents it with minimal sets against a black background, and turns it into a furious rant against the homophobia of the Thatcher-era England of the '80s and early '90s. Though Marlowe wrote a gay subtext into his play, Jarman moves it up front: Edward is gay, he gives too much power to his gay lover, and they both have to be destroyed before things get out of hand.
Continue reading: Edward II Review
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