England, My England

Although Michael Ball trained as an actor, he is best known for his leading roles in musicals such as Les Miserables, Phantom of the Opera and Aspects of Love in London & Broadway. It was very unusual (and very pleasant)to see him in this different role. Although he does not sing in this movie, I enjoyed it very much. The costumes were lovely. I also enjoyed seeing Simon Callow in his role as I really enjoyed his acting in "4 weddings and funeral".

The first time I saw the movie, after a brilliant opening, I felt somewhat disappointed to see that it was a play within a movie. The more I saw it, however, the more I appreciated the original treatment of this biography. It is, first and foremost, a beautiful movie, both for its photography, historical recreation and the great music. The contrast between the modern and historical periods made possible by the "play within a movie" treatment is actually very interesting. The character played by Simon Callow performs research on the life and times of Purcell, while commenting on our own times. John Elliot Gardiner conducts the baroque orchestra and singers with energy, and the result is first class. I saw and recorded this movie on videotape in the 1990's, and the tape is wearing thin. I am delighted this jewel has finally been released on DVD in 2007.

Like many others, I guess, I made a point of taping (such a 20th century expression) this programme from the air when it had its TV premiere in Australia in 1995.

I can't count the number of times I've re-watched it. Each time I do, some different aspect of the treatment or the story come to the fore. I agree that, at first, the 'play within a play' approach can be a little off-putting. So can the direct commentary on UK political life.

Sometimes it becomes a little tiring that UK playwrights and filmmakers of the late 1980s and 1990s had such a thing about Margaret Thatcher and her politics. In 'Billy Elliot' it was the coal mine closures, in 'England, My England' it was the poll tax protests. Maybe I have the luxury of not being British (well, not quite, just an Anglo Australian with a British cultural upbringing, hence the love of Purcell), but it did not resonate particularly closely with me. But, then again, I understood the message.

The treatment of Restoration England and the musical life of Purcell is amazingly well handled. You could almost believe that Peyps and Dryden were addressing us from the screen. Colwell's Charles II is utterly convincing. Charles is at once a sympathetic and pathetic character.... sincerely concerned for his kingdom and people, yet given over to his own pleasures and concerns.

As for Harry, what can I say? As presented as a man on screen, and in the music we hear, he is the unsurpassed master of the English baroque. The selected orchestral and choral works, though tending to the popular, fit the scenes perfectly and add to the sense of wonder at his talent.

For those who've not enjoyed this movie, and who are fans of Purcell or baroque music generally, all I can say is, see it! You'll be rewarded.

The life of the musician & court composer Henry Purcell is used to present a tongue in cheek examination of the Restoration & the Glorious Revolution. The actors in the film, led by Simon Callow as Charles II, discuss the play between scenes, but the parts they play on stage are also those that they play in the film. Very cleverly done too.

Loved this from beginning to end! A sterling cast of British acting talent so rarely seen in films. From the start where Cromwell's grave is dug up to the sad ending of Harry's death from (possibly) tuberculosis, John Eliot Gardner's ensemble's performances and gritty realism of late 17thc London will absorb every classical music fan throughout. Oh DO look out for the gaffe where Sir a Christopher Wren is displaying plans of St.Paul's Cathedral: The plan you see on screen is from a 3 dimensional architect drawing made in 1927.