狼厅

原文链接：http://www.wsj.com/articles/wolf-hall-viewers-flock-to-the-soundtrack-1428606881标题：Wolf Hall’ Viewers Flock to the SoundtrackThe broadcast of ‘Wolf Hall’ has brought interest in the soundtrack, which includes contemporary and early musicTelevision soundtrack music often fades from memory as fast as remotes can switch channels, but something different happened with the British miniseries “Wolf Hall.”Based on the Booker Prize-winning novels of Hilary Mantel and being broadcast on PBS Masterpiece, the series tells the story of the Tudors, the ill-fated Anne Boleyn and, most important, the royal adviser Thomas Cromwell.Behind the dynastic drama are two distinct musical backdrops, both of which are garnering attention for a type of music usually enjoyed by a niche classical audience. There’s a modern soundtrack, written by British composer Debbie Wiseman, and period music from the late 15th and early 16th century, sourced and arranged by Claire van Kampen. Neither was involved with the Broadway adaptation.In Britain, BBC2 aired the final episode of the miniseries in late February; by late March, Ms. Wiseman’s soundtrack topped the U.K.’s Classic FM chart. Most recently, it was No. 6. The album has so far sold an unexpected 2,100 copies, more than double the initial order, said a spokesman for the record label Silva Screen. A “Wolf Hall” soundtrack album of Tudor music on VIA Records, which is distributed by Naxos, became available for preorder on Wednesday in advance of a June 9 release. It’s too early to tell if American viewers will similarly focus on the music: The miniseries began airing last Sunday.This is Ms. Wiseman’s sixth collaboration with “Wolf Hall” director Peter Kosminsky. A conductor and noted film composer in the U.K., she has scored several hundred movies and television shows, including the BBC war drama “Warriors” and the 1994 film “Tom & Viv,” about T.S. Eliot and his first wife.For her “Wolf Hall” score, Ms. Wiseman says that “we decided it shouldn’t sound like a pastiche of Tudor music. There’s no sense of looking at [the characters] through some stained-glass window.” In lieu of the lush, orchestral sound often found in film, Ms. Wiseman wrote music that was performed by an ensemble of roughly a dozen musicians. They play both modern instruments and historical ones, including the theorbo, a lutelike instrument, and the vielle, a type of medieval violin. The strong response to the music on social media and from fans “has been unlike anything I’ve experienced in my career,” says Ms. Wiseman.Mr. Kosminsky felt it was important that the series’s soundscape feel contemporary. “For me, one of the triumphs of Hilary’s extraordinary books is the way they make a story set 500 years ago feel immediate, current,” Mr. Kosminsky says. For music apparently being played by on-screen musicians, “we opted for pieces that were very strictly accurate to period,” he says.Ms. van Kampen—a composer, playwright, director and music historian— turned to her considerable knowledge of the period. She works at Shakespeare’s Globe in London. Recently, she scored Broadway productions of “Twelfth Night” and “ Richard III,” both using authentic Elizabethan music and period instruments like the sackbut and hurdy-gurdy. The Broadway audience “had never seen anything like that,” says Ms. van Kampen“Henry the VIII’s period is extraordinary, because it’s when everything changes in music,” she adds. Before the Reformation, music was focused on the religious world, but afterward became part of secular society. “Henry adored music, and was an excellent dancer and singer and wrote music himself,” she says.The music is authentic, says Ms. van Kampen, to the extent that is knowable. “I did faithfully try to use the music [Henry] would have heard as much as I could,” she says. For example, in “Wolf Hall” the vocal work “Te Deum,” by 16th-century composer John Taverner, is played for Anne Boleyn’s coronation in “Wolf Hall,” because Ms. van Kampen’s research found that it was likely played in Westminster Abbey on that date.Even the filming process had aspects of the authentic. “The musicians were filmed live playing in the gallery where Henry actually walked with Anne Boleyn,” says Ms. van Kampen. “We all had goosebumps.”<图片1><图片2><图片3><图片4>中世纪乐器和现代乐器结合。

第一集还有演员拿着lutelike，soundtrack里也有lutelike的演奏。

原文段落：Ms. Wiseman wrote music that was performed by an ensemble of roughly a dozen musicians. They play both modern instruments and historical ones, including the theorbo, a lutelike instrument, and the vielle, a type of medieval violin.

那么好，现在开始谈狼厅。

很幸运的是，我把科目三已经通过了，历时五十天，这的确我得说是一件不太容易的事情。

现在就还差一个科目四了，科目四本来这周是可以考的，但是由于学校办公室人员说什么“科三的成绩还没有发到学校之类的原因”，便阻止我约考科目四，无妨，再等一周也无妨。

考完科三之后，这两天我看了看《狼厅》这部剧，还有《叶问4》这部电影。

顺便和森一起打发了很多时光。

《狼厅》不错，背景放在刚刚迈出的欧洲中世纪社会，视角瞄向了英国皇室以朝廷中以克伦威尔等为代表的上流社会，共刻画了皇帝、皇后、废后、红衣教主、大法官乃至铁匠、女仆、乐童等相对较低等级的人物。

第二任皇后是否有罪，有网友倾向于认为是完全没有罪的——虽然我认为完全没有罪似乎也不太可能，但是话说回来这里到底有罪还是没有罪已经不重要了，毕竟“欲加之罪何患无辞”

http://www.theguardian.com/commentisfree/2015/jan/22/thomas-cromwell-fixer-wolf-hall?CMP=share_btn_fbCromwell, the fixers’ fixer: a role model for our timesMartin KettleThomas Cromwell is the politician of the moment. We seem entranced by him. How cunning and deep he is. How clever and calculating. With what skill he acquires, husbands and uses his power. How precise he is in his judgment of when to speak and when to stay silent, when to watch and when to act, absolutely ruthlessly if need be.We are a nation hooked on Cromwell, as a result of Hilary Mantel’s novels. And now perhaps in even greater numbers than before, thanks to the BBC’s dramatisation of Wolf Hall that began this week, whose centrepiece is Mark Rylance’s Cromwell: the outsider who mesmerisingly watches, plots and thinks his way into the heart of the English Tudor state.On one level, the current national embrace of Cromwell is easy to explain. The Tudors are box office. And Cromwell was a big Tudor figure. Mantel’s books expertly draw the reader into Cromwell’s reflective world, where his words are the tip of an iceberg of unspoken feelings and thoughts. After just one episode, Rylance’s portrayal is already a masterpiece of suggestion, tempting us to overlook Shakespeare’s advice that there’s “no art to find the mind’s construction in the face”It is sometimes implied that Mantel’s reimagining of Cromwell has overturned the way we see the reign of Henry VIII. But this shows what short memories we all have. This is not the first time in English history that Cromwell’s stock has been so high. After his death, many Elizabethans saw him as a heroic martyr to the English protestant cause. And after the second world war Professor GR Elton – uncle of Ben – placed him on a very different pedestal at the heart of what he called the Tudor revolution in government.Elton’s Cromwell was the man who blew away the medieval system of government based on the king’s household. He replaced it with a departmental bureaucracy that was the forerunner of the modern constitutional state. In Elton’s judgment, Cromwell was “the most remarkable revolutionary in English history”, and his intellect “the most successfully radical instrument at any man’s disposal in the 16th century”. Mantel’s Cromwell owes much to Elton’s heroic reinvention.Yet Cromwell, even in the Elton-Mantel version, is a very improbable hero for our times. Cromwell’s essential attraction is his mastery of statecraft, his ability to identify a political goal and achieve it unerringly but pragmatically. He is unsentimental, cold-blooded, secular, and ruthless. He is a master of detail and of small moves in the service of larger ones. It is not clear whether Cromwell ever read Machiavelli, but there have been few leaders in English or British political history who better embodied Machiavellian ideas. In short, he is the sum of much that the modern era dislikes, or affects to dislike, in its politicians.What is even more unlikely about Cromwell’s place in the sun, as Mantel’s readers and viewers will know, is that he was an enemy of a man who in so many ways is the sum of everything that the modern era admires, or affects to admire. Thomas More remains the incarnation of individual conscience, of rising above the quotidian, and doing the morally right thing in difficult and dangerous times. It is no surprise that in postwar Britain, it was More, especially as embodied by Paul Scofield in A Man for All Seasons, who ruled the Tudor roost.By rights, More ought to be the man for our season too. He is pre-emenintly the Tudor politician who embodies sticking to firm principles, upholding moral authority and obeying the dictates of conscience. He refuses to do the politically convenient thing because he believes it is wrong – and pays with his life. Not for him Cromwell’s cynical survive-the-day relativism. If anyone is the man for an age that feels tarnished by illegal wars, mistreated by the power of corporations and banks, betrayed by MPs’ expenses, demeaned by the banality of modern politics, it is surely More.And yet our age has embraced not pious, high-minded More, but aspirational, crafty Cromwell, who stands for everything we say we dislike about modern politics and statecraft. It is a very odd disjunction. It could simply be that we all love a costume drama with great actors. But it could also suggest there is some hope for politics yet.Politicians could hardly suffer from lower esteem than they do at the moment. A survey published this week by the Edelman PR company confirms the overwhelmingly negative picture of the past few years, with trust in the doldrums, and with the reputations of government, business and media all flatlining. “People are desperate for honesty and fair play,” the report concludes. This is one reason why support for the established political parties is so low and why a proportion of the electorate is now embracing parties that offer easy answers to complex and difficult real problems.Cromwell stands against all that. He stands for the art of politics, not for fantasy politics. It has often been said, including by RA Butler, who chose the phrase for the title of his memoirs, that politics is the art of the possible. I prefer Robin Cook’s characterisation that politics is also the art of the impossible. Cromwell was the vindication of that view – and his distant and later relative Oliver wasn’t bad at the game either. Cromwell knew precisely where he was trying to get, and he was pretty effective about getting there.There is no point requiring every politician to have Cromwell’s gifts. It would be a scary political scene if they did. But there is a great deal of point in valuing and celebrating the statecraft and the political calculation that Cromwell mastered so well. Honesty and fair play are all very well, but effectiveness and continued support count for more in the end.I read somewhere that the late Caroline Benn, wife of Tony, thought that political leaders fell into three categories: , which she called pedestrians, fixers or madmen. Allocating British prime ministers to the three categories is an entertaining exercise, especially if you remember that no category has all the virtues or all the vices. Tony Benn, apparently, was confident that if he had become prime minister he would have been one of the madmen.I like fixers. The pedestrians frustrate me. The madmen frighten me. True, fixers aren’t always the best politicians. But the best politicians are almost always good fixers. Think Lloyd George or Franklin Roosevelt. And Cromwell, a fixers’ fixer, is right up there too. As long as we understand that knowing what you want is utterly useless unless you also know how to get it, then politics will have a storied future as well as a storied past.

相比于美剧的粗暴情色嗜血，英剧绝对要慢热许多。

去年BBC2套火爆的《狼厅Wolf Hall》就是典型的英式克制。

该剧根据英国女作家希拉里·曼特尔两获布克奖的历史小说《狼厅Wolf Hall》和续篇《提堂Bring Up the Bodies》改编而成，强大的编导（导演：彼得·考斯明斯金）服化道演团队阵容，从细节上再现了都铎王朝亨利八世时期的宫廷权力争斗，有别于正史中的冷血杀戮，全篇以托马斯·克伦威尔的视角阐述历史事件，赢得狼群中人性的呼声。

对于托马斯·克伦威尔的家庭，正史上少有记载。

只知道他1485年生于伦敦郊外的普特尼，一位伦敦郊区铁匠的儿子。

短剧第一季共六集，导演擅长通过平行历史叙事、闪回，而由老戏骨马克·里朗斯扮演的托马斯·克伦威尔，每个眼神，每一次脸部抽搐或是冷凝的动作，都耐人寻味。

他为何最终在英王亨利八世的宫廷里掌控了巨大权力，这和曼特尔在书中对他童年形象的构建不无关系。

一个饥饿、焦虑而孤独的童年：铁匠父亲时常醉酒殴打托马斯，七岁时，他住在红衣主教莫顿家，他的叔叔在那儿做厨师。

九岁时，他目击了一位八十岁的异教徒被活活烧死。

十五岁时，他在遭受父亲毒打后离家出走，此后的十年生活，加入了法国雇佣军，远征意大利，在佛罗伦萨的某家人家做仆人，又在罗马、威尼斯、安特卫普间旅行，成为银行家和布商……再回到英国，已是而立之年。

时值亨利八世在位，英国和当时的欧洲诸国一样，受制于罗马天主教教廷，晦暗不明之时，托马斯·克伦威尔曾游历诸国的见识令他看到了向上攀爬的契机。

他以其精明、和善、野心勃勃，顺理成章成为红衣主教沃尔西的律师和商业咨询师。

沃尔西初见他时，说: “噢，终于有一个比我还卑微的人出现了！

”托马斯不以为然，隐而不发。

此时的沃尔西是他立足英国进入上层的垫脚石，他必须视沃尔西为朋友，听沃尔西倾诉，为沃尔西分忧。

当沃尔西迫于天主教教规，未能如亨利八世所愿帮助他与西班牙公主阿拉贡凯瑟琳离婚后，克伦威尔及时出现，当他了解到亨利八世想要再婚繁衍皇室子嗣，他开始逐渐靠拢安·博林，四处安插眼线，支持当时的新教改革，大胆建议亨利八世对抗罗马教廷。

最终，英国国会脱离了罗马教廷，大主教宣布亨利与凯瑟琳的婚姻无效，于是他与女侍官安·博林的婚姻由此合法。

托马斯因为安·博林的成功上位立下汗马功劳，令亨利八世刮目相看，也借此埋下了个人权谋欲望的种子。

托马斯·克伦威尔大权在握，自诩只有亨利八世一位朋友。

当亨利八世因参加骑士比武意外昏死场面混乱，托马斯·克伦威尔迅速嘱咐手下迎接照管好废王后凯瑟琳之女玛丽公主。

这一举动，在克伦威尔的角度，唯恐陷入王室纷争维护正统，而并非私心，却成为后来安·博林的心梗。

片中的克伦威尔，在妻女突然病逝时显现出为人丈夫为人父亲的温存，嘱咐儿子在骑士格斗中需忘记保全生命最后一刻出击拼杀，以及他在搬倒政治对手时对其遗孀的怜悯，恐怕只有他的门生更能体察。

托马斯·克伦威尔不是不知道王权的至高无上不可侵犯，不是不知道伴君如伴虎。

作为一个卑微的铁匠之子，穿梭于波诡云谲的宫廷，他能做到察言观色，时刻掌握亨利八世的喜怒哀乐，竭尽全力地扶持亨利，为亨八的欲望付出刽子手的代价，他其实内伤戳戳。

譬如，作为亨利八世的首席谋臣，他为玛丽公主设计了远嫁西班牙的计划目的是避免战争却遭到亨利的怒斥和羞辱，他举起交叉的双手，沉默走开，镜头回向童年，他的铁匠父亲告诉他，双手交叉可以减轻疼痛。

片中我们看到王后安·博林没能给亨利八世诞下王子，已成为亨利八世厌弃王后的最大理由。

此时的托马斯·克伦威尔，一边要应付博林家的宫廷势力，老贵族权臣们的虎视眈眈，一边又要为亨利八世出谋划策罢黜安·博林。

其实，无论是在国王亨利还是王后安·博林的眼里，克伦威尔都是一只随叫随到可以随时踹死的狗。

只是，克伦威尔再一次选择了亨利。

他暗中调查安·博林，设计审判博林家的贵族势力。

都铎王朝第二任王后安·博林的斩首现场，克伦威尔在人群中抓紧门徒的手臂目不斜视地盯着刀斧手砍掉博林的头，那一刻，他的内心戏足够丰盛。

在这些历史事件中，导演遵循曼特尔的叙事，并没有试图重建一个铁匠之子年少的失落岁月，而是让克伦威尔的举止和不得已的阴谋周旋在都铎王朝宫廷上空。

所谓的历史，无非是人与人之间的狼性竞争，在权谋政治中，更是由歪曲的流言、轶事组装起来。

第一季《狼厅Wolf Hall》的结尾，亨利八世庆祝安·博林的罢黜，拥抱了托马斯·克伦威尔。

镜头定格在克伦威尔刻板的脸上，我们看到一张细致、细腻、自觉、自律并且忐忑不知未来的脸；一个白手起家的下层屌丝，永远不可能褪去铁匠之子的身份阴影，也必须将喜怒哀乐隐藏的更深，为王者的王权不停沦为权谋政治世界中的棋子。

题外，剧中安·博林的扮演者气场上差了很多意思，若是凯拉·莱特利出演，该完美许多。

期待第二季《狼厅Wolf Hall》的上映，曼特尔笔下搅动都铎王朝更加鲜活生动的克伦威尔。

根据两届布克奖得主，希拉里·曼特尔(Hilary Mantel)的热销历史小说《狼厅》Wolf Hall和《提堂》Bring Up the Bodies改编，讲述了亨利八世统治下的都铎王朝宫廷权力斗争的故事。

根据两届布克奖得主，希拉里·曼特尔(Hilary Mantel)的热销历史小说《狼厅》Wolf Hall和《提堂》Bring Up the Bodies改编，讲述了亨利八世统治下的都铎王朝宫廷权力斗争的故事。

狼厅 Wolf Hall2015年播出的经典英剧 古装剧甜饼字幕组.中英双语特效字幕.倾情奉献！

新浪微博 http://weibo.com/cookiesub#狼厅#改编自英国女作家希拉里·曼特尔的长篇历史小说《狼厅》讲述了亨利八世统治下的都铎王朝宫廷权斗的故事。

该小说获得2009年度布克奖。

随着与西班牙关系的恶化，亨利八世对于自己的婚姻问题日益不满。

到1527年，他的王后阿拉贡的凯瑟琳已年逾40，只有一个女儿玛丽而无男嗣，都铎王朝的王统面临断绝的危险。

这时亨利八世爱上了在法国宫廷受过教育，倾向宗教改革的贵妇安娜?波琳，便决心离婚再娶。

按教会法规，国王的婚姻问题必须由罗马教皇批准，方为合法，亨利八世便向罗马教皇克雷芒七世提出请求。

但教皇此时完全受制于查理五世，阿拉贡的凯瑟琳是查理五世的姨母，所以教皇使用各种手段，拒不批准亨利八世的离婚。

国内的旧贵族和教会人士也对离婚案持反对态度。

指靠罗马教廷和教俗旧贵族解决这个问题，显已全然无望。

在此关头，亨利八世毅然改弦易辙，转向全国要求改革的乡绅与资产阶级等阶层寻求支持，于1529年10月罢免了民愤极大的沃尔西，并在11月召开议会，开始实行宗教改革。

　　 　　　　宗教改革引起了国内外反改革势力的强烈反对。

教皇将亨利八世开除教籍，神圣罗马帝国威胁要入侵和断绝贸易。

亨利八世审时度势，依靠全国民族情绪和新兴资产阶级力量的支持，进行强硬反击。

他宣称:“那怕教皇开除教籍一万次，我也不在乎。

我要向所有的国王证明，教皇的力量是多么微不足道。

”“西班牙人要是来的话，就别想回了。

”“弗兰德尔若没有英国贸易，就只有垮台。

”他利用法国与西班牙的矛盾，在一些问题上取得法国国王支持，并与一些信奉路德教的德意志诸侯结盟。

亨利八世在国内加强镇压，1534年议会通过“叛逆法”，规定凡是用言论、文字、行动诬蔑国王为异端、裂教者、暴君等恶名者，不承认国王是教会首领者，否认国王婚姻合法者，均为叛逆，罪当处死。

依此法案，杀掉了一大批反改革的教士，托马斯?莫尔也因不承认议会有权进行宗教改革，而被处死。

但同时，一些信仰各种改革教派的人，也作为“异端”被处火刑。

　　　　随着宗教改革运动的深入，巩固国家统一成为迫切的问题。

当时封建旧贵族在靠近苏格兰的北部地区，威尔士和西部边区及爱尔兰的英占区，仍有着强大的割据势力。

他们勾结教皇与西班牙反对改革，阴谋暴乱。

1536—1537年北方的旧贵族和教会势力利用农民的不满，掀起了名为“求恩巡礼”的叛乱，向南进军，要求取消一切改革，并惩办改革派。

亨利八世依靠改革派广大群众的支持，坚决镇压，杀掉废掉了一批北方旧贵族，成立由改革派主持的“北方法院”进行统治。

在威尔士和西部边区，则成立了由改革派主持的“威尔士边区法院”，惩办了大批不法的旧贵族，推行英国的行政司法制度。

议会于1536年和1543年通过法案，把威尔士正式并入英国。

由于改革派取得的成就，1536年的议会法案规定，国内原有的一切封建特权区必须在国王的名义下治理，实行统一的行政司法制度。

从此，国内的封建割据基本被消灭。

1536—1537年，亨利八世还镇压了爱尔兰英占区旧贵族的反改革叛乱，派改革派人士为代表进行统治，他自己于1541年兼称爱尔兰国王。

1538—1539年，亨利八世以勾结教皇的罪名，杀掉了最后一批约克王朝王族，至此据地自雄的旧贵族基本被清除掉。

　　　　宗教改革运动，尤其是没收大批修道院地产，带来了深刻的社会经济变革。

王室由于财政需求和谋求政治支持，把大批地产转卖或赠送给新贵族和工商业资产阶级，使这些新兴势力发财致富，成为宗教改革的既得利益者。

他们大搞圈地，提高地租，赶走佃户，造成大批农民流离失所，社会秩序动荡不安。

1531年和1536年议会通过法案，用肉刑、奴隶劳动和处死等血腥手段，残酷镇压流浪者。

惩办流浪者、安置劳动力、征救济税、维持治安，管理地方行政司法事务的权力，则交给由乡绅担任的治安法官和教区职员，使他们取代教俗封建主，成为中央在地方上实行统治的工具。

托马斯.克伦威尔，BlackSmith's son,Low Born,身背年少受虐，妻女病亡的负重，寄身心于大主教沃尔西的麾下，然而主教大人无法帮助亨利八世从无子的婚姻中解脱，政敌们将他置于死地，克伦威尔减缓了沃尔西的悲剧，但不能阻止大主教走向末路。

为了生存，为了复仇，克伦威尔和野心勃勃的安妮.博林暂时结盟，他团结岛内的宗教力量对抗教皇，使亨利成为英伦教会的首领，从而宣布其与西班牙公主凯瑟琳的婚姻无效。

结果是，安妮.博林成为亨利的第二任皇后，克伦威尔成为枢密院首。

然而，亨利的无子噩梦仍在延续，安妮.博林也不能为其诞下皇子，她的苟且和不忠加速了亨利对他的厌烦，后者正被纯洁的西摩小姐所吸引。

克伦威尔抓住时机，扳倒安妮.博林，连同当初对沃尔西下手的博林家族。

反复无常的亨利对服帖能干的克伦威尔张开双臂，但克伦威尔浑身颤抖...

I read New Yorker’s profile of Hilary Mantel in 2012 after she became the first female writer to win two Man Booker Prize. I was very intrigued by Mantel then, and put “Wolf Hall” on my to-read list. But never got around to do so.http://www.newyorker.com/magazine/2012/10/15/the-dead-are-realBBC’s 6 episode “Wolf Hall” mini TV series got lots of praise. It is said that the screenwriter adapted Mantel’s work very nicely and captured the essence of the book.I fell in love with it after watching Episode one.The custom, setting, lighting were so well done, every frame looked like a painting. The acting was marvelous as well. Even though most of them were not familiar to the US audience. But supposedly all of the main characters were seasoned stage actors in England, and it showed.See the album link below for some interesting comparison between the actors in the TV series and their actual portrait from the 16th century. Mostly by Hans Holbein the Younger, who was the official painter for the court of Henry VIII.http://www.douban.com/photos/album/155586258/Apparently the soundtrack of the TV series was also a hit in Britain. Too early to tell how it will fair in the US. I myself really loved the music.http://music.163.com/#/album?id=3111229The Guardian had episode by episode explanation of the story line, it was very helpful for people who is not familiar with the Tudor history (such as myself), which was pretty complicated. http://www.theguardian.com/tv-and-radio/series/wolf-hall-episode-by-episode

本剧从Thomas Cromwell的角度讲述了Anne Boleyn从上台到上断头台的历史，需要对英国历史有一定了解程度才能看得比较明白。

我在看《另一个波琳家的女孩》的时候，就觉得电影为了追求讲述波琳姐妹故事的传奇性，太过强调爱恨情仇和个人的影响力，将帝国之命运置于姐妹花的角色美貌自然是太过幼稚。

《狼厅》则向我们揭示君主制政治个人情欲、宗教信仰和党派斗争交织的复杂性。

我对《狼厅》所描绘的亨利八世统治下的英国社会和政坛最大的印象就是人的兽性。

群众在看两次断头的时候的表现就像当年北平菜市场斩戊戌六君子时群众的反应一样，不但愚蠢，更表现出一种嗜血性。

议会权贵在几次审判的时候（Kahterin of Aragon, Thomas More, Anne Boleyn）那种喧嚣狂躁的表现，像围在将死的动物身边徘徊的秃鹫。

而亨利八世在决定了要抛弃断头皇后另立新后以求能诞下子嗣后，他和波琳皇后以及公主殿下在一起的画面中一点都不阖家欢乐，他直盯盯地看着母女，用手掏了掏牙缝里的肉屑，极像要咬死猎物的猛兽。

所以说，群众是无情之人，议员是无情之人，国王是无情之人。

克伦威尔在一群群人之间周旋，演员用比较收的表演，像是一面镜子一样反映出了一幅政坛的浮世绘。

除了全剧的克伦威尔，我最喜欢的两段表演，是克伦威尔和Thomas Moore在伦敦塔的周旋和皇后上断头台的那两段，演员做了非常精彩的诠释。

另外我比较喜欢的设定，是克伦威尔，这个忠于自己的master，即使在他失势之后依然衷心耿耿的有情之人如何变成一个设计逼死皇后的无情之人的。

克伦威尔在剧的前半部分还是比较温情的，忠心地帮助失势主教、和自己妻子和女儿的互动也比较友爱。

但在自己和女儿相继死亡、主教被逼死之后，克伦威尔的视野就基本上转到了政治活动上来。

他慢慢地收到亨利八世的宠爱，接近了权利的中心，步步高升，在遵从皇帝懿旨处理并赐死自己尊敬的Thomas More的时候才发现自己已经无法后退了。

亨利直接帮他戳穿了现实：你觉得我是因为你的人格魅力而重用你的吗？

我就是要你去帮我办这些“棘手”的事。

所以在后面亨利和他的交谈中明确表现出后悔和安波琳结婚的时候，他很清楚的了解到，"Henry wants to divorce her... I have to push her (to death)."亨利八世需要一个无情之人来帮助他做无情之事，比如帮助他和皇后离婚，那么他就要揭发皇后和多人通奸（我们在剧中从来没看到有任何证据真的能证明皇后偷情了），那么他就要想尽办法威逼利诱“情夫们”认供，制造证据。

他需要设计皇后偷情，做无情之事，好让皇帝做那个无辜之人，有情有义的perfect prince。

至于皇后是否真的偷情了？

Doesn't matter anymore. 我们可以看到演员在开头演绎克伦威尔的时候还比较放，虽然是个谨慎之人，但还开得起玩笑、唱的出小调，到最后亨利拥抱他庆祝砍掉波琳皇后脑袋的时候，他的眼神你已经读不出来什么信息了。

另一方面，他“陷害”的基本上都是当年还是主教的人，报仇又是一个有情的举动，使得克伦威尔的人格更加的复杂化，组成了我们所见到的这样一个有情与无情之人。