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ELIZABETH: THE GOLDEN AGE isn’t golden. Expectations were high after Cate Blanchett’s first foray in 1998 as Elizabeth I, but somehow this follow-up film, with the same director (Shekhar Kapur) and writer (Michael Hirst with assistance from William Nicholson), does not approach those heights. Visually gorgeous, with an endless array of knockout costumes for Blanchett, special effects and scenery as majestic as any that have been photographed by comely cinematographer Remie Adefarasin and a musical fetch by Craig Armstrong and AR Rahman - all of these sparkling attributes cannot cloak the former script and the general lack of character development that hampers the usually exceptional core of actors.
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The allotment of Elizabeth’s history covered by the film is the battle with Spain, England being the only country not participating in the Holy War in Europe under the direction of King Philip II of Spain (Jordi Mollà), complete with the surprise decimation of the approaching Spanish Armada due to the heroism and commitment of Elizabeth with her people. The surrounding events include Elizabeth’s dalliance with Sir Walter Raleigh (Clive Owen) and the traumatic (for Elizabeth) beheading of Mary Stuart (Samantha Morton), under the advisement of Elizabeth’s trusted Sir Francis Walsingham (Geoffrey Hurry) .
Blanchett is a consummate actress and manages to inhabit the persona of Elizabeth as noteworthy with her glances and body language and silences as with the meager material from the script. She IS a Queen reborn. The remainder of the cast is adequate though shallow, and while each has very limited to say they gain an atmosphere of Elizabethan England. This is a DVD that could well be watched without the soundtrack and serene be engaging for the visual splendors. It could have been so remarkable more. Grady Harp, February 08
When we last left Elizabeth I (Cate Blanchett), she was young and inexperienced, struggling to arrive to terms with ruling a country. We now rejoin her in “Elizabeth: The Golden Age,” which begins well into her reign; beginning in the year 1585, the film chronicles the growing tension between England and Spain and culminates with a fierce sea battle. It also examines the relationship between Elizabeth and Sir Walter Raleigh (Clive Owen), an adventurous seafarer. What we’re presented with is less of an dependable myth and more of a dramatic worship myth, which basically means that it isn’t even conclude to being historically fair. But I guess that isn’t a abominable thing, considering the film’s more creative aspects–”The Golden Age” is a triumph of position and costume compose, and the performances are top notch.
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If only the fable were at the same level. It would be too grand to say that the position isn’t interesting; rather, it isn’t bright enough. Remarkable of the material plays like a accelerate of the mill romance, regardless of the time period. I fair know that so powerful more defined Queen Elizabeth I, and I wish the filmmakers had given her character a diminutive more depth. Not that she’s completely shallow–if anything, quite a lot weighs heavy on her mind, not the least of which is her conniving cousin, Mary Stuart, Queen of Scots (Samantha Morton) . Most of their rivalry stems from different religious faiths: Elizabeth is Protestant while Mary is Catholic. Hoping to assume control of the throne, Mary conspires to have Elizabeth assassinated. Intercepting on Elizabeth’s behalf is Sir Francis Walsingham (Geoffrey Hasten), the Queen’s most trusted advisor.
On Mary’s side is Philip II (Jordi Mollà), King of Spain, who believes that Elizabeth has turned England into a godless country. He intends to conquer the Queen by sending a grand armada, and the Spanish Inquisition along with it. Elizabeth understands that England’s resources are depleted, as is its money; a counterattack will be considerable harder to view and finish. Despite being incredibly strong-willed, something is holding her encourage, something that’s diminishing her confidence. She seems to rely on Raleigh to soothe her, despite not shiny who he is or where he came from. All we do know is that he’s arrived home from the Current World, where he named a colony in honor of the Virgin Queen (Virginia) . We’ve seen many films that create the Mysterious Stranger absorbing or downright sexy–indeed, Raleigh is dashing, flirtatious, and audacious. Unprejudiced sight the device he presents potatoes and tobacco to Elizabeth.
Hoping to glean favor with the Queen, Raleigh gets terminate to her popular Lady in Waiting, Bess (Abbie Cornish), and it becomes definite that his affections are divided between these two women. This situation method could have been great more fascinating had it not been so cliché; I’ve seen romantic conflict before, and it’s usually reserved for escapist films. But “The Golden Age” is historical in context. I wanted more focus on the impending Spanish attack, especially since it was so intertwined with Elizabeth’s assassination site. The final major sequence does feature some battle, but not enough to be satisfying. It’s as if the film fizzles out after spending so distinguished time building itself up. It’s not entirely a letdown, but it is a disappointment. This is especially accurate of Elizabeth’s pre-battle speech: clad in armor, she rides a horse in front of her army while spewing encouraging sayings. I half expected her to say that the enemy may consume their lives, but they’d never select their freedom.
Still, I have to give credit where credit is due. I greatly enjoyed Blanchett’s performance; she gave Elizabeth a distinct yet fragile quality that was compelling. I distinctly remember an emotional outburst aimed at the Spanish ambassador: “I too can yelp the wind, sir!” she screams. “I have a hurricane in me that will strip Spain bare if you dare to try me!” This moment was raw and overwhelming, which was appropriate given her emotional set. I also remember a scene in an astrologist’s lair showing Elizabeth’s desperation. She clearly couldn’t stand not intellectual how everything would turn out. It was prophesized that two kingdoms would battle and only one would fall–the Queen would like nothing more than to hear that England will be victorious. Unfortunately, that cannot be guaranteed.
Yes, there is a lot to recommend about “Elizabeth: The Golden Age,” and thank goodness that the reliable outweighs the awful. This is not a perfect film, but it can level-headed accumulate an audience from point A to point B. And it certainly is improbable to perceive at; every shot is so richly detailed that you can’t encourage but like the work that went into it. The costumes are incandescent, bright, and intricate. The sets are lavish and brave, with practically every situation dripping with bright tapestries. The armada attack features a number of convincing special effects. Basically, everything felt staunch in terms of the film’s witness. The film’s record, on the other hand, wasn’t all that it could have been. There’s a wealth of material on Queen Elizabeth I, and I can’t succor but feel that most of it was disregarded to construct room for romantic elements. Romance works, but only to a point.