Few British monarchs loom as large in the public imagination as King Henry VIII. Best known for his six infamous marriages and his penchant for beheadings, the towering figure of the Tudor King continues to fascinate us more than 500 years later. But where does the dramatic fiction of film meet the historical fact? In a new episode of Not Just The Tudors… Lates, Professor Suzannah Lipscomb hosts a discussion that dissects how Henry VIII has been reimagined on screen, exploring what these portrayals get right, what they get wrong, and why he remains such a compelling, complicated character. Suzannah is joined by an expert panel featuring Tudor specialist Jessie Childs, historian Dr Joanne Paul, and historian and screenwriter Alex Von Tunzelmann. Together, they trace the evolution of Henry’s cinematic image – from jolly rogue to calculated monster. The King’s shifting image The panel examines how different eras have moulded the King to suit their own fascinations: The lovable rogue: The discussion begins with Charles Laughton’s Oscar-winning performance in ‘The Private Life of Henry VIII’ (1933). This landmark film broke box office records, and set the initial mould for how the 20th century would view the King, creating the persistent caricature of the gluttonous King gorging on feasts.  The film’s satirical element is also powerful; as Dr Joanne Paul states, “there is something inherently ridiculous about Henry VIII and there is something powerful about laughing at him.” However, the film also reveals a surprisingly vulnerable Henry – a man desperately searching for love – a narrative that reframes the entire Tudor story focusing on the King’s own disappointments rather than solely on Anne Boleyn which tended to become popular later in the 20th century.  Promotional still from the 1933 film ‘The Private Life of Henry VIII’ featuring Charles Laughton as King Henry VIII, and Elsa Lanchester as Anne of Cleves, on their wedding night.Image Credit: Public Domain The sinister seducer: Cinematic portrayals took a darker turn by the 1960’s with Richard Burton’s far more sinister Henry VIII in ‘Anne of the Thousand Days’ (1969). Made when film codes were loosening, this film is shocking in its sexual politics, presenting a menacing Henry who slaps Anne Boleyn. The panel argues over whether this dark portrayal is historically accurate or simply reflects the harsher edge of 1960s filmmaking. Whilst Alex dislikes the film, Joanne, however, appreciates that the film shifts the narrative, portraying Anne as resisting Henry’s advances, giving her a power beyond simple sexual manipulation. The Renaissance heartthrob: The modern era offered a complete reboot with Jonathan Rhys Meyers in ‘The Tudors’ (2007-2010). Once dubbed “soft porn disguised as history” by film critic Mark Lawson, this depiction of a youthful, impossibly handsome Henry captured a crucial, often-missed element: the King’s early charisma and fire. The panel discusses how Rhys Meyers successfully embodied the beguiling and magnetic young Henry described in historical sources. Portrait of Henry VIII (1491-1547) byHans Holbein the Younger in 1540Image Credit: Galleria Nazionale d'Arte Antica / Public Domain Behind the persona: vicious or vulnerable? The discussion moves beyond looks to dissect the political calculations of the King’s rule. The calculated monster: The panel contrasts modern portrayals that focus on Henry’s immense power. In ‘Wolf Hall’ (2015), Jessie describes Henry as the “master… the monster” who subtly whispers his murderous desires to Thomas Cromwell. However, Joanne finds the performance “lacklustre,” arguing that it fails to capture the “fire in his eyes” and the physically terrifying presence Henry was known for in his time. This contrasts with Jude Law’s terrifying and grotesque late-life King in Firebrand (2023), where you can palpably feel the menace of a powerful man consumed by his own physical decay. The enduring enigma The experts agree that every portrayal – from Laughton’s funny rogue to Law’s terrifying tyrant – is a work of fiction that must choose one angle to convey. Joanne notes the fascinating paradox that two different films, Anne of the Thousand Days and Firebrand, essentially portray the same grotesque, controlling Henry, yet the viewer’s modern interpretation of that control shifts dramatically – is it repulsive, or is it interpreted as power? The enduring power of Henry VIII lies in these contradictions: he was a brilliant scholar, a charismatic athlete, and an unforgiving tyrant. So, which version of Henry VIII is the most historically convincing, and which one is the panel’s favourite? Join Professor Suzannah Lipscomb and her expert panel as they dissect the King’s cinematic afterlife and reveal the historical truth behind the actors in Not Just The Tudors… Lates.