"Elizabeth" is a dazzling historical show-stopper along the lines of "Braveheart" that mixes the best of public TV drama, old-fashioned
entertainment and some fast-and-loose history to deliver a swashbuckling story of young Elizabeth's transformation into the famed Virgin Queen of England. Think 'Sense and Sensibility' with a few
soft-core love scenes and a lot of killing, done with Ken Russell flair.
You know her: she's the one in whiteface with no eyebrows wearing a giant
ruff. You'll have to wait for the end to see this incarnation, as "Elizabeth" imagines the girl who would be Queen and her bloody path to unchallenged power. Indian director Shekar Kapur
(director of "Bandit Queen," another film about a steely female leader) doesn't have the reverent baggage that an English director brings to this history, and it shows in his willingness to give this story
grandious Ken Russell treatment and characters brimming with emotions, instead of letting boring political motives take precedence. Political intrigue is rife in the court, but these maneuvers take a
backseat to the vulnerable Queen (Cate Blanchett, last seen romancing Ralph "He's So"
Fiennes in the bizarre 'Oscar and Lucinda') her lover Lord Robert Dudley
(doe-eyed Joseph "He's My Brother" Fiennes, looking downright tasty in spite of those puffy ribbon drawers) her nemesis, the calculating
Duke of Norfolk (Christopher Ecceleston, in a commanding and vigorous performance) and the Queen's ally, wily master assassin Francis Walsingham (Geoffrey Rush, last seen as the lovable and addled pianist in 'Shine.') Super cast is rounded
out by John Gielgud as the Pope (looking oddly like Santa Claus) and
Fanny Ardant (last seen in the wicked "Ridicule") as French warrior queen Mary of Guise.
The story opens
(with lucid and informative titles for the historically challenged) as the balance of power shifts unexpectedly, through natural and unnatural means. The seriousness of the religious split in England
is presented in a graphic sequence straight out of "The Devils," Russell's masterpiece about religious persecution. Whew!! It's strong stuff. What a relief to cut over to the Queen
taking dancing lessons and cavorting with Dudley in the countryside, just like 'Much Ado About Nothing.' Smart photography choices and lush, painterly setups are used throughout the film to communicate
mood and liven up political intrigue scenes. Note the extremely dark sequence when Elizabeth arrives at the Tower of London with the light, airy first scenes of her and Dudley (pointedly, the film's
scenes are never this open and light again). After a few scenes of peril in the Tower showing Elizabeth's mettle, we're slam-bang in the middle of what matters most, and that is, of course: who gets
her? Elizabeth is horrified at her court's crude forwardness as they press her to accept the unseen King of Spain or a French fop (hammed up to the max and culminating in his public declaration,
"Up yours!" to the Queen). I won't divulge why the Queen can't be with Dudley, but suffice to say the answer is shocking enough to for her to say, To hell with everyone!
Blanchett comes to life
in these imperious scenes, quickly leaving behind the tentative girl and advancing, with Walsingham's support, into the iron-willed monarch of history books. Fiennes' Bambi eyes and demeanor are
much gentler than his intense brother's, and this softness combined with good acting make him entirely believable as the Queen's beloved and as a member of a less inviting group. Rush delivers a smooth
performance as the deadly and loyal Walsinham with remarkable consistency and menace. His low voice and eternal calmness make his lethal character all the more chilling, and speak volumes about his
incorruptible nature. Eccleston (who noted that an English director would not have cast him as a nobleman because of his working-class background)
delivers a fine performance in 5th gear as the relentlessly ambitious, plotting Norfolk. He's done excellent work for some time now, and this movie should get him noticed. Ardant makes the most of her small part, and you've got to shudder when she sends her war message back to Elizabeth. Blanchett, a respected stage actress in her native Australia, at times over-emotes a tad too much. She's best when she has to act like a Queen -- then she delivers, with a roaring voice and icy eyes. She has a few scenes where she makes the switch from tentative to forceful, and it's something to see as her humanity switches off and royalty steps in. It's a fantastic part, and Blanchett makes the most of it, especially in the 'one mistress and no masters' scene.
At times the script makes Blanchett too contemporary to match the rest of the film (notably, in her speech rehearsal and discovery of her attendant's body). It's jarring to watch the mannerisms
of a 20th-century woman and see so much mascara running around in 1535. The story itself is awfully soap-opera, with gratuitous sex scenes (particularly Norfolk's) but what the hey, it's history for
the MTV generation and the dazzling costumes can't be the only eye candy around. Production looks rather stagey at times but is overall quite good, with a lot of location filming lending
authenticity. That is the REAL painting of Henry VIII -- various other portraits are real, as well. Costumes are a knockout -- as lush and rich as we'd expect from royalty. The script
handily takes us through the intrigue without too many annoying explanations and never loses sight of the main character. It's too bad the language is a bit hokey, but it's hard to make a true line
from history like "I shall have one mistress and no masters" sound natural, unless you're Shakespeare. Much credit has to go to the director for choosing a skilled international cast and employing
various techniques (varied camera shots, fade to white for intensity, lighting to change mood, slow motion and music) to keep this potentially confusing, boring tale visually fresh and fast-paced. It's
fitting that the last piece of music is Mozart's regal "Requiem," played as Elizabeth undergoes the ultimate makeover: from human to legend. The soaring grandeur of the death mass at once expresses the
glory and tragedy in Elizabeth's story. Highly recommended for those who enjoy costume dramas and big epics. |
