Günstling einer Königin

Watching the newly restored DVD version of THE PRIVATE LIVES OF ELIZABETH AND ESSEX gives this viewer a new appreciation of the lavish attention to detail in sets, costumes--and even the performances surrounding BETTE DAVIS in her showcase role as the Queen who is unwilling to let the ambitious Earl of Essex share her throne. Flynn fans won't be disappointed either. He's never looked handsomer as Lord Essex.

Davis seems unwilling to let anyone else steal the thunder from her fidgety display of histrionics. Costumed in the most brilliant array of historically correct costuming ever dreamed up by the Warner costume department, she gives a commanding display of histrionics that will fascinate even those who will undoubtedly accuse her of overacting or chewing the scenery on occasion.

And what scenery! Seldom has the lavishness of a Warner costume epic been captured by cinematographers as here. All of the courtroom scenes have the stately dignity and majesty of inspired paintings. And yet, despite all the rich atmosphere of court settings, the performances stand out as uniquely individual characterizations, thanks to Michael Curtiz's firm direction.

ERROL FLYNN, despite a few weaker scenes in the film's final moments, does a sterling job as Essex, matching Davis' fiery temperament with a strong display of courage, cunning and nobility as Essex.

OLIVIA de HAVILLAND, while demoted to a supporting role by Jack Warner (who never forgave her for outwitting him in her move to play a loan-out role as Melanie in GWTW), is breathtakingly gorgeous and shows that beneath that demure surface lurked an actress with sparks of her own to share with Davis.

The glittering supporting cast includes such stalwarts as Vincent Price (handsomely attired as Sir Walter Raleigh), Henry Stephenson, Donald Crisp--and in an uncredited role as a member of the Queen's guard, John Sutton. Notable in a small but effective scene is Nanette Fabray, at the very start of her career on screen.

Not historically accurate as far as Maxwell Anderson's legend goes (there was no romance between Elizabeth and Essex), but this is a fascinating version of his stage play, "Elizabeth the Queen".

Alan Hale does a superb job in a brief role as Tyrone (with Irish accent), cast as Errol's foe for a change. Watch the color cinematography in the marshes scene--subtle shades of pastel amid the fog shrouded swamps.

A magnificent, pulsating background score by Erich Wolfgang Korngold adds to the intrigue. The film itself is not entirely flawless--there are several scenes that move much too slowly. But all in all, it captures the court intrigue and sympathetically reveals the demands that a Queen must face when her throne is challenged by men just as ambitious (and ruthless) as she is to rule.

Director Michael Curtiz keeps things visually stirring throughout, as is his customary practice.

A final note: It cannot be emphasized enough that the new DVD version brings out all of the detailed splendor of sets, costumes and photography and makes it all the more compelling to watch. In fact, the whole viewing experience is quite different from the VHS version.

I think there is a lot to like about Essex and Elizabeth. Even with moments of pedestrian pacing, parts where the dialogue seemed a little too ripe and the fact that to historians perhaps it is a travesty of history, there is still a lot to like. The film is shot in beautiful Technicolour and has lavish sets and costumes, and Korngold's score is very stirring indeed. The story is compelling enough, and the acting was actually not too bad. Errol Flynn I think did a really good job here, it didn't matter for me that the performance wasn't another Captain Blood or Robin Hood, it was still a good performance. And Bette Davis is very good as Elizabeth, while Davis reportedly hated working on the picture the chemistry was believable enough. It was a delight to see Vincent Price here as Walter Raleigh, I have always liked Vincent Price, and he looks very handsome and quite nuanced in his role here, and Donald Crisp gives another great performance. The direction from Michael Curtiz is pretty much solid too. So overall, it was a good film, without being a great one. 7/10 Bethany Cox

The Private Lives of Elizabeth and Essex was a personal triumph for Bette Davis in her portrayal of Elizabeth I of England. Davis was 31 when she played the Virgin Queen at the tail end of her regime, Elizabeth herself was 65 in 1601 when the action of this story takes place. It concerns her involvement with Robert Devereaux, Earl of Essex, a last foolish gesture on the part of a great monarch.

Davis hated working with Errol Flynn since doing The Sisters with him a year earlier. She was quoted as saying that when she had to kiss him she'd close her eyes and pretend it was Laurence Olivier. But I think Olivier might have had trouble making Essex a hero.

In point of fact he wasn't any kind of a hero. He was a vainglorious, conceited, egotistical cad of a human being who apparently only had talent in the bedroom. Now the bedroom part would have fit Flynn perfectly. But he became a military commander and leader and he bungled every job he was given.

The real Essex was played like a piccolo by the other members and rivals of the Elizabethan court. His main rival in the film is Robert Cecil played by Henry Daniell. In the film he is incorrectly identified as Lord Burghley's(Henry Stephenson's)son when in fact he was a nephew. Because it's Henry Daniell and he's a clever schemer he has to be the villain. In point of fact Cecil was a patriot in the best tradition. He was very concerned in fact about Essex's military ventures that they were nothing but missions of glory. Cecil's greatest contribution to English history was to come two years later when Elizabeth died, it's due to him that there was an orderly transition from the House of Tudor to the House of Stuart.

My favorite performance in this film is that of Alan Hale as Hugh O'Neill, the Earl of Tyrone who led the Irish rebellion against the English at that time. What happens in court to Essex with his rivals there is nothing compared to the way O'Neill plays him. He leads him deeper into the Irish interior, using hit and run tactics and then cuts him off from his supply base. And then in surrendering O'Neill very cleverly sows the seed of more dissension by telling him what a great leader he was and the Irish could never have beaten him if he'd been backed up better from home. And Essex the rube falls for it.

Another good performance is Donald Crisp as Sir Francis Bacon. He's a wily old fox used to court politics Elizabethan style. Bacon tries to give Essex some good advice none of which Essex accepts. In the end Bacon gives up on Essex and just switches sides, lest he be brought down with him.

So what we have here is Bette Davis giving a great performance with a leading man she detested and Flynn trying desperately to breathe life and heroism into a character who wasn't terribly heroic. It would have defeated a better actor than Errol Flynn.

This 1939 Technicolor film, which was directed by the notoriously tyrannical Hungarian Michael Curtiz is strangely unavailable on video at present. A wonderful film if you don't take it too seriously history-wise, because many of the characters and situations are fictionalized. Davis was only 31 here, but her valiant attempt to portray Good Queen Bess impressed the pious critics: a showy performance, Davis chews the scenery with zesty aplomb: it's never boring. Errol Flynn isn't as bad in his playing of Essex as many are led to believe, certainly, he didn't equal Davis as a thespian, but he lends the film his energy, looks and finesse. It has been widely implied that Davis herself wanted Laurence Olivier for the role of Essex, but he was busy doing WUTHERING HEIGHTS. As Lady Penelope Grey, a purely fictional character, Olivia de Havilland is lovely but her performance isn't particularly captivating, owing to a rather weakly drawn character. The real surprise performance of the lesser cast members is that of Nanette Fabares as a lady-in-waiting. Truly genuine and sincerely heartfelt is her brief emotional scene with the Virgin Queen. The sets are magnificent, the old Technicolor gorgeous, and the Erich Wolfgang Korngold score is stellar. A finely crafted movie version of Maxwell Anderson's ELIZABETH THE QUEEN, hopefully this semi-controversial film will find its way back on video soon.

One of my top 10 best movies of all time! This has to be Davis' best dramatic performance ever - the voice, the mannerisms, the psychological torment between Queen and woman. Never have I seen a character performance like Davis' where she literally shakes with the emotion and tension she feels! Even her eating habits are a source of fascination.

Flynn gives another dashing performance of an emotionally shallow, politically incorrect Essex - he never really quite understands just what he is dealing with until towards the very end. To Essex (and probably to Flynn too!) a woman is just a woman ready to acquiesce to her man at his whim and his detractors at court are simply disgruntled competitors for the affections of his woman. Honest and trustworthy, he has no time patience or comprehension of the treacheries of Raleigh and Cecil or the political considerations of Elizabeth.

Though the plot is quite straightforward it is the absorbing script that allows this actors' tour de force - this is one of the few movies ever where the lead characters are allowed to talk from their hearts. Davis portrays a bitingly intelligent woman in desperate need of one honest voice she can trust and depend upon in a sea of political plots and assorted self-interests. Her determination to rule her people wisely avoiding senseless wars is constantly assailed by her great doubts to continue to command respect and love of her people as she ages and must seek impartial counsel amongst a court of self-seeking, two-faced advisors. She walks the razor's edge of lonely command and tormented despair.

DeHavilland's Penelope is a pivotal character whose envy of the queen and discounting by Essex drives her to attempt to destroy their relationship but finally realises where her loyalties lie.

But the highlight of the film is the intimate exchanges between Essex and Elizabeth that bring out the very best and the very worst in each as they explore their true intentions and their boundaries. The quality of these exchanges are so good that they rival today's psychological thrillers as Elizabeth finally uncovers Essex's true ambitions. It makes you realise how few relationships today could withstand such sincere probing as to the real character of the couple. And the dramatic finale is truly heart-wrenching when Essex becomes the true unselfish hero Elizabeth has been seeking upon finally realising what he would do to England if he shared her throne and that even Elizabeth herself is prepared to sacrifice everything she holds most dear for the man she desperately loves.

They just don't write movies like this any more and it is an excellent example of a masterpiece that can never age.