Most Helpful Customer Reviews
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8 of 8 people found the following review helpful:
4.0 out of 5 stars
Breathtaking historical romance - with the history taken out, 14 Jun 2008
Cate Blanchet is probably the finest Hollywood actress of her generation and holds this slightly ramshackle epic together through the sheer fire-and-honey intensity of her portrayal of the Virgin Queen. Clive Owen is a dashing - if perhaps overly louche - Raleigh, and the film chooses to focus on the sexual and romantic paradox of their relationship.
This focus is regrettable, since many more interesting things are going on at the time, like, oh, the Armada, the Babington plot - things that the film gives short shrift too, preferring to linger over Raleigh's droopy eyelids and Queen Bess' palpitations. Also, in order to compress everything into a tidy romantic plotline incorporating all the Hollywood touchstones (first meeting... flirtation... misunderstanding... reconciliation... the KISS) the sort of concessions to historical truth made by the first film get thrown out of the window.
But these grumblings need to be set in context. After all, this movie isn't really in the same category as Braveheart [1995] (which stands in the same relationship to the historical wars between England and Scotland as The Lord of the Rings Trilogy does to the history of the First Crusade). This film is both beautiful and moving and, if it doesn't manage to be a history lesson, it certainly conveys an inspirational IMPRESSION of history. No small thanks here must go to the third star of the film: the architectural heritage of Britain. Director Kapur artfully converts the cathedrals at Ely, Wells and Winchester into peerless sets of late Gothic romance, traced through with his trademark delight in light and shadow. Recurring motifs are views through arches, windows and from lofty ceilings: dizzying angles that spotlight the characters as frantic mortals adrift in an unchanging world of eternal stone. Not bad.
This motif is picked up again in the dialogue, which sparkles here a little more brightly than in the first film. Raleigh is presented as the rootless adventurer in a delightful exchange about his Atlantic crossing; Elizabeth's love traps him on land and at court - a neat parallel to her entrapment in the power politics of Renaissance monarchy. The process by which the queen discovers her identity as an ever-virgin icon, a mother to the nation, is strikingly mapped out and, frankly, no woman ever looked better in full Gothic plate armour than Blanchet's Elizabeth at Tilbury - a rare case of the film improving on history, since the actual Elizabeth only went as far as a silver cuirass.
Geoffrey Rush is in loyal support as the devoted spymaster Walsingham and Samantha Morton certainly looks the part as Mary Stuart (though why oh why did they have to give her an anachronistic Scottish accent?) as does Rhys Ifans in evil Catholic mode, effectively rehashing Daniel Craig's psycho-papist from the earlier movie.
With the cast looking great and the locations looking greater, it's curious what the film chooses to ignore. OK, so the "I will not make windows into men's souls" line was used (inappropriately) in the first film, but its absence in the opening privy council scene feels like a gaping wound in the script. And sure, Francis Drake probably didn't insist on finishing his game of bowls at Plymouth Hoe before sailing out to engage the Armada, but it's part of the historical myth and its exclusion feels a little odd, as does the whole relegation of Drake's character in favour of the raffish Raleigh.
Most regrettably, why did the film-makers set an armoured Elizabeth pepping up the yeomanry at Tilbury but skip her deathless exhortation: "I have the body of a weak and feeble woman, but I have the heart and stomach of a king, and of a king of England too!". Did it not fit in with the P.C. subtext of feminine empowerment? Without such a rallying cry, Queenie's speech sounds rather more like the captain of the Upper VI girls hockey team, less like the daughter of Henry VIII.
The Armada is sunk in a dreamlike sequence that sits appropriately with the Queen's-eye vantage point the film adopts, but rather cheats those of us lusting for nautical mayhem and the splintering of Spanish timbers. Nevertheless, the Dons go down into the drink, Raleigh is banished to a domestic shipwreck of a life in exile in Sherborne and Elizabeth finds her radiant apotheosis.
A beautiful and thoughtful film then, flawed only by its subsitution of a Mills & Boon romance for truthful historical events which were, ironically, even more interesting.
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21 of 25 people found the following review helpful:
3.0 out of 5 stars
Not Up To Its Predecessor, 11 Feb 2008
Criticising this film, as some have, for lacking historical verisimilitude is on a par with doing the same to Black Adder's Queenie. This isn't a history lesson; it's entertainment. Similar things have been done to our other mythic ruler, Arthur, without the fuss.
Where I would criticise it is in failing to rise to the expectations set by Cate Blanchett's original appearance as Good Queen Bess, an entertainment in itself but also an excellent essay in Machiavellian politics, with Geoffrey Rush's Walsingham a masterly portrait of the spymaster, enforcer and advisor, shaping what was merely promising material at the start into a fully functioning Renaissance monarch.
This second outing for Blanchett and Rush lacks that edge. Sure, it's entertaining, and there's some not-bad CGI as the Spanish Armada meets its fiery end. But the one serious message I could detect was in Elizabeth's reluctance to clamp down on her Catholic subjects on the premise that such repression would make their rebellion a self-fulfilling prophecy. The parallels with Islam in the current era are obvious, and the message is one even Season 6 of 24 carries!
Elizabeth's agony over the decision to execute Mary Queen of Scots unfortunately does no more than make her look deranged rather than distraught, and her infatuation with Clive Owen's Raleigh is not much more than a limp crowd pleaser, where Joseph Fiennes's Dudley in the original played almost the symbolic role of a youth rejected - something like Henry V's Falstaff. Also missing is an adversary to match the menace of Christopher Ecclestone's Norfolk - King Philip comes over as a bit of a hubristic buffoon.
So, whilst Elizabeth wins a place in my top-whatever movies of all time, its sequel will take a backseat amongst the movies I've also watched and found merely entertaining.
I dunno. Maybe I'm taking this all too seriously?
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7 of 8 people found the following review helpful:
1.0 out of 5 stars
Cor blimey Guvnor! What was all that about?, 22 Sep 2008
Spaniards are dressed in black and have mean, scowling faces. They are the ugly catholic baddies out to get whatever they can in the name of religion. Oh my goodness me yes...
England is a clean, gloriously-lit kingdom with a gorgeous, sexy queen that smoulders with her on-screen beau, the dashing, Bond-esque Sir Walter 'oh what a big ship I've got' Raleigh (see below). She bathes amidst the glow a million candles with her cute (blemish-free, full-head-of-teeth) handmaid. Lord Essex didn't exist, Lord Darnley didn't exist and the entire armada was defeated in 15 minutes! And Walter Raleigh's Walther PPK didn't jam once!
God, I love history! It makes me want to return the those wonderful days in the sun-drenched San Fernando Valley (or wherever they filmed this velvet epic) and go visit good Queen Bess. Maybe we could get a soda and some fries... take in a ride-in movie at the Globe?
OK, perhaps I'm missing something? is that cheeky DVD cover with Cate putting her finger to her lips really an ultra-clever director's ploy to let us know that the whole movie is really just one elaborate joke?
If you want a historically accurate look at the Elizabethan period try the second Blackadder series. It has so much more to offer than this sumptuous nonsense.
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