Meu Reino Por um Amor

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)

Until her death, at 81, in 1989, screen legend Bette Davis would express a combination of bitterness and disappointment over the Maxwell Anderson play that came to the screen as THE PRIVATE LIVES OF ELIZABETH AND ESSEX. She had lobbied hard for the WB to buy the rights, certain that, at age 31, it would be her greatest acting triumph to date (quite a prediction from an someone who'd already won two 'Best Actress' Oscars). ELIZABETH THE QUEEN was a Broadway sensation, but the studio was reluctant to gamble on it; the few Hollywood attempts to do royal epics had failed (MARY OF Scotland, with Katharine Hepburn in the lead, and John Ford directing, had been a major flop, and helped the actress gain the title 'Box Office Poison'), and it appeared that only the British could make this kind of film work.

Nevertheless, when your biggest (and most headstrong) female star wants something, you GET it for her, so the rights were purchased, and ELIZABETH THE QUEEN was announced as 'prestige' production to be filmed with Davis as the lead. Then the problems began...

For the pivotal role of Robert Devereux, Earl of Essex, the ambitious lover who nearly costs Elizabeth her crown, Davis wanted Laurence Olivier, who, at 32, had already established himself as one of the finest actors on two continents. Darkly handsome, and renowned for his interpretations of Shakespeare, the future British lord had created quite a stir in Hollywood, aided by the fact that his lover was Vivien Leigh, who'd won the coveted role of 'Scarlet O'Hara' in GONE WITH THE WIND.

Unfortunately, Olivier was committed to play Heathcliff in the Goldwyn production of WUTHERING HEIGHTS. The search for a British actor of equal stature proved fruitless; Robert Donat was filming GOODBYE, MR. CHIPS (for which he'd win an Oscar), Leslie Howard was finishing GONE WITH THE WIND and in preproduction for INTERMEZZO, Ronald Colman was involved in THE LIGHT THAT FAILED, even Cary Grant was busy, shooting GUNGA DIN... ...But Errol Flynn, Warner's biggest male star, WAS available...

Davis had worked with Flynn a year earlier, in THE SISTERS, and it had NOT been a pleasant experience. Prone to taking things as easy as possible, and playing practical jokes on his co-stars, he took advantage of his classic good looks and natural charm to 'get away' with not knowing his lines and frequent tardiness (he was a world-class carouser and womanizer, away from the camera). Davis, who was always punctual, knew everybody's dialog, and could be quite temperamental, considered him unprofessional, and crude.

But Flynn had become a major star, and the WB, trying to insure ELIZABETH would be a success, overrode Davis' objections, and cast him as Essex...and Flynn immediately demanded a title change. He felt he was as big a star as Davis, and that the film title should reflect his status; so ELIZABETH THE QUEEN first became THE KNIGHT AND THE LADY, which Davis vehemently refused to accept, then THE PRIVATE LIVES OF ELIZABETH AND ESSEX, which she disliked, as well, but had to accept.

The filming was an unhappy affair. Both Flynn and Davis had difficulties with director Michael Curtiz, resulting in Davis' performance being 'over-the-top', and Flynn's so underplayed that he failed to grasp Essex's character, often appearing shallow. In one scene, Davis was supposed to slap Flynn; rather than do a 'staged' one, which would barely touch him, she hit him full force, wearing a heavy ring, which brought tears to his eyes, and broke, momentarily, his composure (the moment is in the completed film; watch, quickly, and you can see Flynn 'lose his cool'!) Flynn responded by a series of escalating practical jokes, with Davis threatening to kill him. Even co-star Olivia De Havilland was unhappy, having just completed GONE WITH THE WIND, and back at Warners in a decidedly secondary role. That the film 'worked' at all was a testament to Davis' perseverance, the glorious Technicolor-filmed sets, and Erich Wolfgang Korngold's spectacular musical score.

THE PRIVATE LIVES OF ELIZABETH AND ESSEX garnered mixed reviews for Davis (although she would be praised for how convincingly she portrayed the much older woman), and terrible ones, for Flynn (which would be used against him, in future, whenever he asked for more substantial roles).

Davis would again play Elizabeth, 16 years later, in the British production, THE VIRGIN QUEEN, but she never lost her resentment over the failure of the earlier film.

In a year of 'classics', THE PRIVATE LIVES OF ELIZABETH AND ESSEX would be an exception!

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.

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

This is a far cry from the sentimental ahistorical nonsense I was expecting. It is all about the machinations of power, the ruthlessness that a ruler must uphold so as not to endanger her kingdom, about the necessity to put oneself aside and think of the greater good. Michael Curtiz, with the inestimable help of Bette Davis in one of her most heartwrenching cinematic portrayals, gets all his sinister points across and does not flinch. Sure enough, the ending is more Hollywood, I believe, than London, more glamorous heroics than real-life sacrifice, but even so, it does not stick in your throat. I loved the amorous, innocent banter and bickering of the queen and the earl in their many intimate moments, and Errol Flynn never photographed better. Was there ever anyone in the annals of Hollywood more handsome? Olivia De Havilland tries on a slightly different role than the goody-goody, doe-eyed ones she usually had to make do with. Technicolor cinematography and lighting are both superb.