The Virgin Queen

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.

You can read the other reviews to see all the debates over the historical accuracy, the choice of Duff as Elizabeth I, and the fact that all we see are movies about Elizabeth and not other interesting choices. So I've decided to give a review on something a little different...

The costumes were pretty accurate for the time period, with some obvious differences in colour choices and the lack of abundance of embroidery (embroidery was a way for people to immediately tell how much money you had and what class you were in - sometimes the wearer would also have their family crest or symbols embroidered as well). The colours situation is just that back then, the dyes were not as stable as they are now and tended to fade quickly and were not as rich and bright as they were portrayed in here.

I have to admit, what kept me going in the second half of the series is the use of make up and effects on the actors. The aging effects were MAGNIFICENT!! While the women seemed overly done and looked like something out of Star Wars or Star Trek, the white make up they used to cover the aging had the adverse effect of aging them further. The vanity of the day is nothing short of today (minus the ability for Botox or anti-aging creams), and they believed their makeup would make them look younger, while today looking at them, it could send children running from the room in terror.

If you're looking for something to pass the time, or you happen to be a lover of period pieces, take a looksie at The Virgin Queen. Every film or television show has it's merits and downfalls, but the visual brilliance should never be overshadowed.

I'm afraid invidious comparisons are inevitable when two of the four major television channels choose to bring out 'mini-series' on the life of the same monarch within the same year. This is the BBC's offering, better-funded, better-researched (or so it was claimed) and filmed in the UK instead of Eastern European locations. Sadly -- and I speak as a devotee of Aunty Beeb -- it simply isn't a match for Channel 4's earlier production "Elizabeth I". Not only is it not *as* good, by the end of the series it wasn't even *good*. (Too much attention paid to the technicalities of the ageing make-up on the principals and too little to the characterisation, perhaps?)

I think it simply tries to bite off more than it can chew. Channel 4 succeeded because they cast a middle-aged actress of great experience to portray Elizabeth in her later years. Anne-Marie Duff is a convincing wispy Princess, but her character doesn't seem to acquire the necessary gravitas as she supposedly ages. And the final two episodes felt badly rushed, in particular the decision to gloss over the entirety of Elizabeth's reign post-Essex in the course of a single voice-over, and her death-scene in a few sentences. There is too much prurient focus on Elizabeth's virginity and very little on the Virgin Queen's real-life record as mistress of statesmanship and manipulator extraordinaire -- she knew how to project herself as larger than life, but the BBC doesn't seem to know how to do the same, leaving the great speeches to fall limply. Channel 4's rendition of the great Tilbury speech ("I may have the body of a weak and feeble woman, but I have the heart and stomach of a king -- and a King of England too") brought the hairs up to thrill at the back of my neck. This one was something of an anti-climax.

Historical accuracy, for all that much-vaunted research, seemed dubious, from Essex's haircut to Queen Mary's death. This is light-weight stuff, without the insight into character that would justify such liberties in the name of dramatic licence. I'll believe in Channel 4's adult version of the relationship between the greying Elizabeth and Leicester before I'll believe the aged-up immaturity shown here, between a couple who never seem to progress beyond teenage crushes and jealousies. We see little of the Queen, and a lot of the virgin -- more soap-opera than history.

Ambitious, but ultimately thin and unsatisfactory. All surface and no depth.

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.

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.