A version of Christopher Marlowe’s drama Edward II (written in 1591/2) played with verve forms the basis for the film of the same name. Edward II was shot entirely in the studio, the theatrical atmosphere was meticulously preserved, while the framing, mise-en-scène and above all the cutting are extremely cinematographic.The play focuses on the freshly-crowned king Edward II who shares all his power and privileges with his friend Piers Gaveston. Jarman makes no bones about the fact that they have a passionate relationship. It evokes hate and jealousy around the king and his bloody fall is inevitable.One of Jarman’s many talents is to make a film look beautiful and expensive despite the low budget. Edward II is related to Jarman’s own Caravaggio. The images are very pictorial in their lighting with an expressive treatment of light and dark. As in Caravaggio Jarman created a kind of mixture between historic and contemporary dressing.In his work Jarman combines idiosyncratic aesthetics with a powerful political message. Edward II should also be seen in the context of an extremely conservative sexual and politicalclimate in the United Kingdom. His choice of Christopher Marlowe, the playwright and particlarly vulgar and homosexual contemporary of Shakespeare (by whom Jarman has also used work in his films), is a provocation for the cherished British stage tradition. At the same time, Jarman demonstrates in the film his passion and admiration for traditional English culture.
