Mary of Scotland (1936) Review: The Good, The Bad & How to Watch

 

Mary of Scotland (1936) Review: The Good, The Bad & How to Watch 

American Film, Drama, History

Venice Film Festival, 1936- Winner: Special Recommendation

When RKO Radio Pictures decided to bring the stormy life of Mary Stuart to the silver screen in 1936, they didn't hold back on star power. They paired a fierce, young Katharine Hepburn with the dashing Fredric March, handed the megaphone to legendary director John Ford, and adapted a hit Broadway play by Maxwell Anderson. The result, Mary of Scotland, remains one of the most fascinating, beautifully shot, yet polarizing historical dramas of Hollywood’s Golden Age. More on Wikipedia or Mubi 

Inside Hollywood's 1936 Tragic Royal Epic 

The film tracks the turbulent return of the Catholic Mary Stuart to her native Scotland, a land deeply divided by religious and political strife. Hepburn plays Mary with a fiery, stubborn innocence, portraying her less as a calculating monarch and more as a romantic victim of circumstance. Standing firmly in her way is her cousin, Queen Elizabeth I, played with cold, calculated brilliance by Florence Eldridge. Interestingly, Eldridge was married to Fredric March in real life, adding a strange layer of off-screen tension to the intense onscreen rivalry.

While Mary tries to secure her throne, she finds herself surrounded by treacherous lords and religious zealots, most notably John Knox. Her only true sanctuary comes in the form of the fiercely loyal Earl of Bothwell, played by March with the kind of swashbuckling bravado that 1930s audiences loved. Their doomed romance forms the emotional core of the narrative, driving the film toward its tragic, inevitable conclusion.

John Ford’s Visual Mastery

If the script occasionally leans too heavily into theatrical melodrama, John Ford’s direction saves it. Fresh off his success with The Informer, Ford brought a distinct, moody visual style to the production. Working alongside cinematographer Joseph H. August, Ford used sharp contrasts, heavy shadows, and mist-covered sets to create a claustrophobic, almost gothic atmosphere. The grand halls of Edinburgh feel less like a palace and more like a beautifully designed prison, mirroring Mary’s growing isolation.

The film culminates in a fictional, highly dramatized confrontation between Mary and Elizabeth. While historians will quickly point out that the two rival queens never actually met in person, the scene serves as the movie's artistic peak. It is a masterclass in acting and lighting, showcasing Hepburn's raw vulnerability against Eldridge's rigid, powerful resolve.

The Box Office Legacy

Despite the immense talent involved, Mary of Scotland was a notorious box office disappointment upon its release. Audiences of the mid-1930s found the historical tragedy a bit too heavy, and the film contributed to Hollywood theater owners later labeling Hepburn as "box office poison" before her spectacular career resurgence a few years later.

Decades later, however, the film stands as a compelling piece of cinema history. It captures a transitional moment in American filmmaking where theatrical poetry met the gritty visual storytelling of early Hollywood masters. For fans of classic cinema and royal drama, this 1936 gem offers a stylish, emotional window into one of history's most tragic figures.

The Good:

John Ford and his cinematographer truly stole the show here. The film is a visual masterpiece, opting for a dark, German Expressionist style rather than the bright, generic lighting common in most 1930s costume dramas. The heavy shadows, towering stone walls, and thick artificial fog create a palpable sense of doom that perfectly matches Mary's tragic fate.

Katharine Hepburn provides another major high point. Even when the script falters, her fierce presence, trademark dignity, and emotional vulnerability make Mary a deeply sympathetic character. The costume design elevates her performance further, framing her with striking, rigid collars and opulent gowns that contrast beautifully with the bleak, shadowy castle interiors. Furthermore, the supporting performance by Florence Eldridge as Elizabeth I provides a wonderful, chilling counterweight to Hepburn’s warmth.

The Bad:

The most prominent issue lies in the screenplay, which was adapted from a stage play written in blank verse. The dialogue often feels stiff, overly theatrical, and unnatural for film, forcing the actors into long, static monologues that drag the pacing down. Fredric March, usually a fantastic actor, feels somewhat miscast here, playing the Earl of Bothwell with a theatrical, swashbuckling energy that occasionally feels like it belongs in a completely different movie.

History buffs will also find plenty to complain about. Hollywood took massive liberties with the facts, turning the complex, politically messy reality of Scottish history into a simplified, highly romanticized melodrama. The film entirely fabricates a face-to-face meeting between Mary and Elizabeth, whitewashes Mary's own questionable political decisions, and portrays her opposition as cartoonishly evil villains rather than deeply religious and politically motivated figures.