Meu Reino Por um Amor

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.

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.

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.

I saw this movie when I was a child in Mexican black and white TV. Now it has been released in DVD in Spain by Divisa(2005) It is clear that true history is absent in most of the historic events related to the story. Essex was actually married to Penelope Rich (and not Gray, as in the movie), which meant nothing to his relationship to the queen. The meeting with Ireland's clan chief Tyrone was thought alright as treason, but when Essex entered London no one rouse with him. He passed a lot of time in his house, far from London, before the Queen made any decision on his final destiny... also Briton's uniforms in Ireland look Spanish...etc. The strange thing is that the story itself, as told by Curtiz, functions well. Davies is great ( a little bit overacting, but, who cares?), as the uncommon woman Elizabeth must have been. She did'not want Flynn to play the part: she asked for Laurence Olivier, but I sincerely think Flynn gave the necessary gaiety and spirits Essex would have had in reality, and Olivier would have spoiled that by his well known acting excesses, playing dark and severe where there should be light and superficial. Both, Davies and Flynn, seem profoundly in love and hate. Constanty driving in and out from and to love and politics. I would'not say this is a great movie, but it's worth while seeing it! (Excuse my English, I write better in Spanish)

Bette Davis and Errol Flynn, the Queen and King of Warner Bros. in the late '30s and early '40s, only worked together a couple of times. "The Private Lives of Elizabeth and Essex" is their major effort, and it's a very good one. Warners pulled out all the stops for this Technicolor extravaganza, and Curtiz directs with a sure hand. Erich Wolfgang Korngold's music is wonderful. The real star of the show, though, is Ms. Davis as Queen Elizabeth. With all the on-screen Elizabeths to choose from, you won't forget hers. I had just watched "The Sea Hawk" where Errol faces another great Elizabeth, Dame Flora Robson (even though they only have a couple of scenes together, but Errol seems much more at ease in that picture).

Bette made no secret of her dislike for the freewheeling, womanizing, undisciplined Flynn, and criticized his performance opposite her for years afterwards (although if memory serves she eventually relented and admitted he wasn't bad). Some may take issue with the pacing of the movie, but Bette's so good, Errol's so handsome, and the dialogue so adult and refreshing (and don't forget the reliable villain Henry Daniell), you can't help but like it.