MM Film Blog

Shekhar Kapur's follow-up to his hugely successful 1998 film Elizabeth suffers in comparison to the first film, as most sequels do. However, it is still an enormously entertaining portrayal of one of the most fascinating women in history, with a stellar cast, wonderful cinematography, and dazzling costumes.

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The story of Queen Elizabeth I has been told many times on film, and no doubt will be told many more. Elizabeth: The Golden Age is neither the best nor the worst, but certainly stands strong on its own merit. It is difficult not to compare this film with the 2005 HBO mini-series with Helen Mirren, which was apparently more true to the historical facts. Yet it is understandable that liberties will be taken when condensing such a richly tapestried period into a 2-hour film. What this film lacks in historical accuracy, it makes up in lavishness and grandeur (which cannot easily be accomplished in a TV miniseries). Those who criticize this film for being historically innacurate may remember that the same was true of the original film. But in that case it was more easily overlooked because the film was so well received.

The highlight of this film is Cate Blanchett's complexly layered and nuanced performance. Blanchett was a relative newcomer playing the young Elizabeth in the first film, which launched her career to a new level. That film was the perfect showcase for her unique blend of innocence, intelligence, strength, and sensitivity. It is fascinating to see her return to this role almost 10 years later, well established in her successful acting career, picking up on the character who is now well established as a very successful queen.

Geoffrey Rush is brilliant in his measured, low-key performance as Sir Francis Walsingham. And Clive Owens is surprisingly convincing in a period role, offering a sensitive but strong portrayal of Sir Walter Raliegh. Abbie Cornish gives a nice turn as Bess Throckmorton, the loyal lady-in-waiting who also has her own desires. Tom Hollander, who seems to pop up in almost every British period drama, gives a solid performance in a small role as Sir Amyas Paulet, the "jailer" of Mary, Queen of Scots.

Where the film appears to suffer is in the director's vision. He attempts to show royalty as divine, yet exposes the queen's humanity at every turn. Mr. Kapur has stated that Elizabeth and Bess are like one person -- Elizabeth is the divine or spiritual side, and Bess is the mortal side. It is an interesting concept, but is not totally clear to the viewer. The film is at times a historical epic, and at other times a story of love and betrayal. The director also stated that this film is intended to be full of light, in contrast to the first film which was very dark. That is true in parts of the film. However, the film depicts some of Elizabeth's darkest times, which is what the viewer takes away as a mental image. Yet for all its flaws, it does offer powerful insights into a famous and beloved historical figure, while also giving a good sense of what daily life at court must have been like.

Alexandra Byrne's scene-stealing costumes are spectacular, and actually become another character in the story. Remi Adefarasin's cinematography and Guy Dyas' production design should also be credited for creating a beautifully stylized backdrop for the story. All of these elements come together to create a realistic and dramatic image of life in the late 16th century.

One other flaw in the film is the overuse of innovative camera angles, either rotating around the queen, or scenes shot through walls. It is interesting to a point. But when it is overdone, it becomes too noticeable and distracting, as if the material and acting aren't strong enough to stand on their own.

Overall an imperfect film, but still very entertaining.

MM Rating - * * * *