Approximately ten years since the initial airing of the series, “Wolf Hall: The Mirror and the Light” concluded the popular BBC historical drama with a perfect 100% fresh rating on Rotten Tomatoes. This TV adaptation is based on the Wolf Hall book series by the late Hilary Mantel. The narrative revolves around Thomas Cromwell, King Henry VIII’s fixer who played a significant role in shaping history, only to meet his end due to shifting court loyalties. The series was helmed by director Peter Kosminsky and features Mark Rylance (known for “The Trial of the Chicago 7,” “Bridge of Spies,” and “The BFG”) as Cromwell.
The intricate plotlines of “Wolf Hall: The Mirror and the Light” were skillfully penned by Peter Straughan, a British playwright and screenwriter known for his knack for drama. Besides this series, Straughan is the author of “Conclave,” and is currently contributing to the upcoming Beatles movie universe projects. Notably, Straughan has a history of transforming literary works into film, with “Conclave” and other works like “Tinker Tailor Soldier Spy” being based on books as well.
In a recent conversation, Peter Straughan shared insights about adapting Hilary Mantel’s work for the screen in “Wolf Hall: The Mirror and the Light.” He elaborated on crucial relationships portrayed in the series, employing visual elements to depict Thomas Cromwell’s seemingly insatiable thirst for risk. Furthermore, he pondered over the way the marriage between Henry VIII and Anne of Cleves was penned as a turning point for Cromwell’s fate.
How Peter Straughan Returned To Wolf Hall After A Decade
He Took Cues From Author Hilary Mantel Picking Up “Exactly Where She Left Off”
A decade after “Wolf Hall” initially aired in the U.S., its sequel “The Mirror and the Light” made its appearance. This time gap resulted in a break in the production of the first two seasons, allowing writer Peter Straughan and the show’s followers to pursue other ventures. However, when he resumed working on Thomas Cromwell’s life, Straughan jumped back in without hesitation. He explained, “I followed Hilary’s lead,” implying that it was intriguing and enjoyable for her to continue the narrative right where she had left off.
Straughan often envisioned the two seasons as one continuous whole, frequently returning to a particular mental image: “That single, continuous whole I envisioned… was much like a towering mountain. We ascend with Cromwell at a gradual pace, then witness him reaching the peak, only to be startled by an abrupt and swift descent on the other side.
Straughan not only surpassed Mantel in various aspects, but also when it came to maintaining elements he admired in her writing. “I believe she writes excellent dialogue,” he remarked, “often I felt like a magpie, sifting through the book to save all those wonderful moments. Sometimes, lines would be thoughts or from different parts of the story, but I’d find ways to work them into the narrative.
Thomas Cromwell’s Downfall, Explained
“He’s Almost Like A Gambling Addict”
In the initial episode of Wolf Hall, there was a scene that was initially included but later removed. This scene, according to Straightman, represented the core image of the book. The scene depicted a memory of Cromwell’s, where he was a soldier in a war and had a snake as a wager to see how long he could hold it without being bitten.
In “Wolf Hall: The Mirror and the Light,” Cromwell transcends being a mere historical character due to his complex nature. As Straughan puts it, Cromwell is a man who harbors ambition, enjoys conflict, and believes in doing good, yet he also uncovers a hidden aspect of his life – a daughter and the possibility of a life beyond Henry VIII’s court. Straughan suggests that Cromwell could have returned to the low country with his daughter, leaving behind the court, almost doing so.
In the narrative, Cromwell appears remarkably similar to someone struggling with compulsive gambling. The author notes that he persistently believes, “I can still change things.” This growing peril and anxiety are crucial elements shaping Cromwell’s character development in the new season. Straughan commented, “In the initial season, I felt like a cheerleader for Cromwell, encouraging him. But with the second season, a sense of dread began to seep in as viewers.
Reflecting on history, I’ve noticed a recurring theme of peril for those in the vicinity of King Henry VIII, as demonstrated by Anne Boleyn’s fate. This only serves to heighten the apprehension surrounding Cromwell’s relationship with the king, making it feel like navigating the proximity of a wild, unpredictable, and potentially lethal beast, according to Straughan’s perspective.
How The Season’s Most Pivotal Moments Were Written
From A Failed Marriage To Cromwell’s “Self-Destructive Streak”
The novel “Wolf Hall: The Mirror and the Light” presents Thomas Cromwell’s life as significantly altered by Henry VIII’s failed marriage to Anne of Cleves, a pivotal moment in their political relationship. As Straughan explained, such events, when they involve personal relationships or Henry’s sexual affairs, are particularly engaging because they resonate on a human level despite the immense international and political consequences, making for captivating drama.
Straughan drew inspiration from author Hilary Mantel for crucial scenes involving Anne of Cleves, particularly the moment when she turns away from the window to face Henry for the first time. Unlike other portrayals, Anne doesn’t hide her initial dismay. Henry notices it and is unable to forget that expression, which sets in motion a series of events that ultimately impact entire kingdoms. That scene is simply captivating.
From a cinema enthusiast’s perspective, I find myself intrigued by the enigma that surrounds Thomas Cromwell’s downfall, as Straughan pointed out. While his ill-fated marriage to Anne of Cleves was undeniably a turning point, it wasn’t the sole catalyst for his eventual fall from grace. In crafting ‘Wolf Hall: The Mirror and the Light’, we aimed to portray Cromwell’s fate as a complex tapestry woven from multiple threads.
There were indeed several situations that led to his demise, but it wasn’t just about those specific instances. There were also unexpected missteps that seemed self-destructive in nature, as if an unforeseen destructive streak emerged within Cromwell himself at a critical moment.
Straughan remarked, “He now performs actions he would have never contemplated before,” referring to the man’s sudden displays of anger. This was evident when he provoked the Duke of Norfolk by confiscating some of his ancestral lands, where his ancestors were buried, fully aware that such actions could only lead to negative consequences.” This behavior left Straughan questioning, “Why is Cromwell acting in ways that jeopardize his own prospects?
Peter Straughan Reveals His Approach To Language
“I Like The Language To Feel Rich One Way Or The Other”
Straughan has been selected to pen articles for the forthcoming Beatles biopics, where he’ll be dealing with distinct historical periods and social groups unlike anything he’s tackled before. Unlike the aristocratic jargon seen in works like Wolf Hall: The Mirror and the Light and Conclave, the Beatles’ lifestyle was far more everyday. When asked about writing in a different communication style, Straughan expressed his enthusiasm, stating, “I enjoy working with periods and dialects that offer a wealth of linguistic depth.
The author added, “It should either have a strong working-class vibe or a touch of exclusivity, not a bland and unattached style that could belong to anyone, anywhere.” He warned, “That’s the poorest form of language. I prefer language that is rich in some way or another, but there are many ways for language to be rich.
Mary & Cromwell’s Relationship Explained
Their Dynamic Audiences See Cromwell “Be Tender”
In the historical drama “Wolf Hall: The Mirror and the Light,” a pivotal figure is Mary Tudor, who later became Mary I of England, Henry VIII’s daughter. Her interactions with Cromwell, as depicted in the series, provided viewers with an unprecedented understanding of the man. According to Straughan, some of the most impactful scenes revolved around Cromwell and the women, a theme that is evident in Hilary’s writing.
Straughan remarked, “An intriguing characteristic of Cromwell is that to truly grasp what’s happening, you should converse with the women.” He added, “Cromwell recognizes this, and he forms connections with them, showing empathy towards them. Mark [Rylance] suggested that at some point, he felt ‘Cromwell is like a woman. I must portray Cromwell as a woman because, like women, he lacks traditional power. He’s had to survive using only his wits and inherent abilities.’
However, Straughan noted that Cromwell had a unique quality brought out by Mary, as he explained in the first episode of the second season. “He’s like a butcher’s dog,” Straughan said, “If you set him to guard something, that’s what he’ll do. And it turns out that Mary’s mother had asked him to protect her and care for her, which is exactly what he does. Mary, on the other hand, is a complex, damaged, and even somewhat terrifying character that I found intriguing because we know she will eventually perform heinous acts.
Also check out our interview with Wolf Hall: The Mirror and the Light composer Debbie Wiseman.
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2025-05-28 01:28