Adapted by screenwriter Peter Straughan from Hilary Mantel’s acclaimed novels Wolf Hall and Bring Up the Bodies, the BBC’s television adaptation of Wolf Hall is a six-part historical drama that charted the cunning political rise and tragic fall of Thomas Cromwell in the court of King Henry VIII. Directed with solemn restraint by Peter Kosminsky and accompanied by sweeping production scope, the series revolutionized the genre by subverting expectations of pomp, romanticism, and spectacle.
A Refreshing Approach to Tudor England
Set during the early 1530s, the series begins in the final hours of Cardinal Thomas Wolsey’s reign. A once-powerful figure, stripped of influence for failing to procure Henry’s annulment from Catherine of Aragon, Wolsey turns to his former aide Thomas Cromwell (portrayed by Mark Rylance). What follows is an intimate, cerebral character study of Cromwell’s transformation from ambitious outsider to the king’s most trusted—and feared—minister.
Unlike many historical dramas, Wolf Hall unfolds entirely from Cromwell’s perspective. The camera places viewers in quiet conversations where emotions are subtext, and decisions whispered in the distant corridors of power carry fatal weight. Instead of marching armies, large-scale battles, or grand royal courts, what we witness is the bloodless political chess game behind the Reformation and England’s break with the Catholic Church.
Mark Rylance: A Masterclass in Understatement
At the heart of the series is Mark Rylance’s portrayal of Thomas Cromwell. Rylance delivers a performance that is both exquisitely subtle and deeply powerful. Through small gestures—a shift of eye, a tightening of lips—he communicates Cromwell’s intelligence, moral complexity, and emotional scars. The result is a character who is at once pragmatic, driven by conscience, haunted by loss, and unapologetically politically astute.
Rylance’s performance earned numerous accolades, including the BAFTA Television Award for Best Actor. His restraint set the tone for the series, grounding it in realism and human vulnerability rather than anachronistic romantic heroism.
A Stellar Ensemble: Lewis, Foy, Pryce, and Others
Damian Lewis portrays King Henry VIII with unsettling charm. Early in the series, Henry appears vibrant, jovial, and decisive. Yet Lewis also hints at his unsettling capacity for cruelty and desire for absolute control. His Henry is capable of charm and love, but also violent unpredictability.
Claire Foy is memorable as Anne Boleyn—confident and eloquent, remarkable as Henry’s prospective new queen. Her performance captures Anne’s blend of charisma, ambition, and vulnerability in an era when theological debates and dynasty shaped the fate of kingdoms.
Jonathan Pryce’s portrayal of Cardinal Wolsey combines pathos with regal dignity. As for Anton Lesser’s brilliant Thomas More, his integrity and theological conviction starkly contrast Cromwell’s pragmatism, culminating in ideological confrontation that plays out with tragic inevitability.
Other strong performances include Kate Phillips as Jane Seymour, Timothy Spall as the Duke of Norfolk, and Nathaniel Parker as Thomas Audley—none overshadowing Cromwell but each vital in creating a textured portrayal of Tudor politics.
Craftsmanship and Cinematic Style
Cinematography & Pace
The visual palette of Wolf Hall favors muted tones and soft lighting, often candlelit interiors, stone stairwells, and feathered dirt floors. The absence of bright colors reinforces the oppressive weight of power struggles and religious upheaval. Camera movements are slow, and shot compositions are intimate, intentionally accentuating the claustrophobia of covert politics.
Sound & Dialogue
There is little sweeping orchestral score; instead, the series favors natural sounds—crackling embers in hearths, faint court rustle, the echo of shoes on stone—complemented by a simple, moody theme. Dialogue replaces grand spectacle as primary drama, with political rivalries and religious arguments carried through steadfast attitudes and verbal precision.
Set & Costume Design
The design philosophy prioritizes historical authenticity. Clothing remains relatively restrained, reflecting clothing of real Tudor England, and sets—like Wolf Hall itself, the Tower of London, Hampton Court—are grim, muscular, and rooted in stone and wood.
Major Themes and Tensions
- Power and Morality
Cromwell’s rise represents a recalibration of power—a reformation from corruption to bureaucracy, humility to patronage. He embodies a new type of power broker, one skilled in law and counsel rather than royal blood. - Tradition vs. Reform
The series explores the shifting religious and political tectonics of Tudor England. While Thomas More upholds humanist and traditional values rooted in Catholicism, Cromwell embodies reform and administration. Their divergences raise broader questions about adaptation and historical evolution. - Ambition and Vulnerability
Beneath all Cromwell’s competence lies human tragedy. We glimpse the man betrayed by marriage, haunted by loss, and embittered by inequality. His ascent in power does not conceal his vulnerabilities, grounding the narrative in empathy. - Faith and Doctrine
The religious debate is never abstract. Theology underpins everything from divorce to indictment, economics to punishment. The series illuminates theology as a political force—and as a lifeblood of early modern life.
Titles and Literary Connections
The title Wolf Hall anchors Cromwell’s identity to his home in Wiltshire—but also to his predatory political acumen. The metaphor is apt: Cromwell strikes without warning or shame. Yet the series demonstrates that his work often grew from conviction rather than mere bloodlust.
Working from Mantel’s novels, Straughan’s adaptation retains poetic yet sparse narration. Cromwell occasionally narrates directly to camera, recounting glimpses of his personal history, but never grandiosely. Instead, his voice is mournful, resentful, pragmatic. The result: psychological depth without melodrama.
Reception, Awards, and Legacy
Critics universally praised Wolf Hall for its bold reinterpretation of Tudor drama. Audiences admired its focus on politics and psychological realism over palace spectacle. The series earned numerous awards, including BAFTAs for Best Drama Series and Best Actor (Mark Rylance).
Its adaptation of Mantel’s novels also renewed public interest in the original books, driving international sales. It inspired historians and general readers to reconsider Cromwell’s historical role—as an institutional reformer rather than just Henry’s henchman.
Comparisons with Other Period Drama
In contrast to visually grand productions like The Tudors, Wolf Hall avoids sex scenes, lavish costumes, and dramatic exposition. It’s intellectual, measured, and disciplined.
The mood is akin to Scandinavian and American prestige television—think The Crown or Mad Men—where interiors and speech, not action, carry narrative force. It proved there was room in historical drama for subtlety, restraint, and attention to power as cerebral rather than theatrical.
Some Criticisms
While many lauded its pace, others found it slow or sparse, lacking the emotional “big moments” associated with more traditional drama. Some viewers missed visual dynamism or conventional arcs centered on Henry, Anne, or More, noting Cromwell’s inward perspective created limited emotional distance.
However, this was a conscious stylistic choice: a drama about the machinery of power, not tragedy or romance. By refusing to conform to spectacle, it offered instead psychological insight and moral nuance.
Conclusion: A Quiet Revolution for Television
Wolf Hall stands as a landmark example of intelligent, historically rich television. It centers on political reality rather than fantasy, moral ambiguity rather than heroism, and character subtleties rather than spectacle.
By foregrounding Thomas Cromwell—a historically respected statesman rarely granted full narrative—along with Mark Rylance’s restrained, profound performance, the series deepened cultural conversation about Tudor England and the mechanics of power. It demonstrated that serialized television could be as thoughtful as literature, as morally reflective as essays, and as visually elegant as film.
Decades from now, Wolf Hall will continue to be regarded as definitive Tudor storytelling—craft that remains respectful to historical complexity while delivering intense, understated drama. It changed the expectations for period pieces and underscored that sometimes power is most fearsome when silent.
