The Virgin Queen

Retelling a story in history in the framework of film can be tricky business and Masterpiece Theatre's The Virgin Queen doesn't attempt to adhere to accuracy in the slightest. But, if you're like me, you would love to experience the story of Queen Elizabeth a thousands times over in a thousand ways, and this film richly succeeds in it's own right.

I have never seen such accurate costuming, beautiful sets or clever a soundtrack in any Elizabethan film (Oh my God, the soundtrack). Royal stoicism is put aside in lieu of emotive imagery. More than many films of this historical powerhouse, I appreciate the attention paid to the human side of Queen Eliazabeth--her vanity, weakness for the opposite sex (considering her royal responsibilities), and infamous indecisiveness.

I could have done without the laughably overblown Casa Nova characterization of Lord Robert Dudley (Tom Hardy, ). He came off as a retired Backstreet Boy, looked far too young for the part, and portrayed none of the cultivated finesse that those familiar with the real man know, in-turn, leaving the audience wondering what about this man is worth the scandal.

If you have any interest in a new take of Elizabeth's life since the 1998 film Elizabeth, I truly recommend this mini-series. For a more historically accurate glance of the time period in England, check out BBC's Elizabeth (1971) starring Glenda Jackson.

Having read the previous comments I would concur with what has been said, but here in the UK this was shown as 4 90 minute episodes, not 60 minutes as inferred in the previous post.

I loved everything about this production even down to the usage of the group the 'Medieval Baebes' (who perform mainly medieval AND Tudor/Renaissance popular music) which gave one goosebumps when you think that this music was probably well loved and performed by the real Queen and her courtiers.

If you check out the BBC Drama website it gives the background as to how the costumes were made to look in period and yet so modern and also the locations used. It was quite refreshing to see a British produced history series actually filmed in the UK and not in one of the old Eastern bloc countries as with the Channel 4 'Elizabeth I' and that other history series with Ann Marie Duff playing a character 'Charles II: The Power and the Passion'

Well done BBC...it will not surprise me if another BAFTA is not forthcoming for this production. Keep up the good work!

This is a very interesting programme, produced in Britain and originally shown on the PBS series, Masterpiece Theatre.

This miniseries was directed by Coky Giedroyc, a veteran of television productions in Britain, including another royal-themed miniseries, 'William and Mary', in 2003. Giedroyc brings an interesting modern twist to the series - rather than filming things in majestic, sweeping camera pans with classical music as a background, and rather than having the dialogue (and acting) be in a stilted, falsely formal style, Giedroyc incorporates modern music with medieval and Celtic flavouring to it (both of which have experienced a renaissance of sorts in the past decade), and the situations are decidedly modern without being out of place in their own times.

This presents the life of Elizabeth from her young adulthood under Queen Mary, as a supposed participant in intrigues against the Catholic Queen, through to her death after serving decades on the throne of England as the Virgin Queen, the queen who never married. In fact, the miniseries plays a tantalising game with Elizabeth's virginity, showing her desires (as well as those around her) without ever giving up the game of 'was she or wasn't she?' Anne-Marie Duff plays the part of Elizabeth, and does a remarkably able job for such a complex figure. Duff won the Irish Television award and was nominated for the BAFTA award for best actress in a television drama in another series, 'Shameless', last year.

Duff is joined by Tom Hardy, who plays the role of Robert Dudley, the favourite of Queen Elizabeth. Dudley is also an extraordinarily complex role, as he played several sides in the political struggles during Elizabeth's early reign, and was part of a family well experienced in regal intrigue - Robert Dudley's family had tried to manage the reign of Elizabeth's brother Edward, engineer the accession of Lady Jane Grey (placing Guildford Dudley on the throne with her), and is sometimes referred to as 'the uncrowned kings of England'. In fact, perhaps the most stunning single scene in this miniseries is after Elizabeth has elevated Robert Dudley to the earldom of Leicester, and during her illness, he sits upon the throne as the protector of the realm. Hardy is well suited to this role, and plays it with skill.

The sets are appropriate to their time period, neither too ornate nor too medieval; the costumes also have a touch of modernity to them, but are still primarily of the period. The situations presented give good insight into the overall pattern of Elizabeth's reign and some of the principal concerns during that time period, although to compress such a long reign into such a short time frame as a four-hour miniseries by necessity means that the history has had to be selectively chosen. Elizabeth faced problems from without and within, many of which were far more complex and pressing than her marriage issue. In the end, Elizabeth made the right decision for the time, if not for the future.

This is a great production for television, and holds up well against other major productions featuring the Virgin Queen Elizabeth of a few years ago.

Another version of a Tudor, Elizabeth I, the Gloriana, done up quite splendidly by the BBC.

The strongest aspect, as I viewed it, was neither the story, the costumes or the scenes, but the bold performance of Anne Marie Duff. She glows as a young Elizabeth, and displays strength and vanity as her aging self. Yes, the make-up could have been better, or as one suggested an alternate older actress, but the pace of Duff's performance was incrementally finer, than finer still, as she reached deeper into her character. And if one seeks out a miniature of the Queen, one sees a remarkable resemblance between the Queen and the actress.

Dudley, portrayed by Hardy, was a good foil; his perhaps son, but certainly step son, Essex portrayed by Hans Matheson, were interestingly cast, not so much by the actors but rather for the dramatic interpretation brought to each character. It is only bested by the old Bette Davis version of Elizabeth and Essex in spotlighting how the Virgin Queen sought male affection, but rebuffed any control but her own.

What burden the Queen, a bastard, a princess, and then a monarch must have endured in her private life, a life often dismissed for her political reign, or exaggerated for her fancy of her childhood friend, Robbie.

A most worthy addition to the pantheon of Tudor drama.

This is well plowed ground. For years the role of England's Elizabeth I was owned by Glenda Jackson. Australian Cate Blanchett, Helen Mirren and now Anne-Marie Duff have essayed in the last ten years to portray Gloriana on the screen.

This version is more watchable, more accessible, more **alive** than any before.

Glenda Jackson was too sour and too butch--attended by a fawning and effeminate Dudley. Jeremy Irons looked like he had risen from the grave playing Robert Dudley to Helen Mirren's Elizabeth in that BBC production focusing on her middle years. Horrid is the only word to describe Ms. Mirren's appearance. The Cate Blanchett movie version tries to portray Elizabeth as a kind of early feminist--a concept that would not exist for many centuries. Dudley is squeezed into a tiny corner and hardly is a presence at all.

This production adopts as its center the long relationship between Elizabeth and Dudley. As "Robbie" Dudley, handsome, boyish Tom Hardy has swagger and sex appeal. He is not the least bit intimidated by his childhood playmate "Bess" now being the Queen. In one of this production's many telling moments, he is seen stroking the royal neck discreetly but not furtively even as Elizabeth receives the ambassador of the King of Spain. Agreed, Dudley seems to age little compared to Elizabeth, who gets older in appearance if not in demeanor. The relationship is accordingly more credible in the early parts of the series when both are in their twenties.

A few nitpicking pedants have pointed up some historical inaccuracies of a very minor nature. They in no way detract from the impact of this splendid version of history with its colorful sets, fine costumes, excellent acting and unforgettable musical score.