A veteran high school teacher befriends a younger art teacher, who is having an affair with one of her 15-year-old students. However, her intentions with this new "friend" also go well beyond platonic friendship.
Rosie returns to her home city on the death of her father, a former policeman. His diaries hint at corruption, and she also receives hints and veiled threats which support her suspicions. ... See full summary »
This film details the ascension to the throne and the early reign of Queen Elizabeth the First, as played by Cate Blanchett. The main focus is the endless attempts by her council to marry her off, the Catholic hatred of her and her romance with Lord Robert Dudley. Written by
Thomas Howard, AKA Duke of Norfolk (Christopher Eccleston) and Sir William Cecil, AKA Lord Burghley (Richard Attenborough) actually had a common relative. Norfolk's mother was Frances de Vere, whose nephew Edward de Vere, the Earl of Oxford, was married to Burghley's daughter Anne Cecil. It has also been suggested that Edward de Vere was the true author of Hamlet (usually considered to have been written by William Shakespeare), and that the characters Hamlet, Ophelia and Polonius were based on himself, Anne, and William, respectively. Christopher Eccleston has played Hamlet on stage, and Richard Attenborough appeared in the 1996 film Hamlet (1996). See more »
As Elizabeth is being arrested, Robert Dudley's gold chain suddenly disappears from around his neck. See more »
[to a wounded boy, handing him a handkerchief stained with his blood]
Mary of Guise:
Go back to England, and take this to your Queen. Hm?
Mary of Guise:
[in French, to herself]
English blood on French colors.
[turns to her officer]
Mary of Guise:
Send him back to his Queen, and make sure he remains alive. Tell that bastard Queen not to send children to fight Mary of Guise!
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The Academy Awards ceremony of 1999 angered many people: Shakespeare in Love, albeit a very smart and funny film, robbed the superior Saving Private Ryan of the Best Picture Oscar; Roberto Benigni beat Edward Norton in the Best Actor category (though it was the Italian star's behavior, rather than his performance, that irritated those attending the event); and Gwyneth Paltrow, who wasn't actually bad in Shakespeare, walked away with the Best Actress award, depriving Cate Blanchett of the recognition she should have received for her revelatory work in Elizabeth.
This film, the first in what the director hopes will be a trilogy (the second installment was released in 2007), covers the early years of Elizabeth I's reign, from her harsh upbringing to the decision to call herself "the Virgin Queen". To describe her situation as tough is an understatement: she was a Protestant monarch in a largely Catholic kingdom, several covert groups wanted her dead and foreign sovereigns kept asking for her hand in marriage, without ever succeeding, for the only man she loved was also the only one she couldn't have.
Conspiracies and unhappy romances: two unusual ingredients for a period drama. And that is exactly why the film succeeds: in the mind of director Shekhar Kapur, this is not the usual costume film where events are observed with a static eye and what might be perceived by some as excessive slowness (Quentin Tarantino's infamous rant about "Merchant-Ivory sh*t" is aimed at those productions); instead, we get a lively, vibrant piece of work, with the camera sweeping through the gorgeous sets and leering at the exquisite costumes while recounting the grand story. And what a story: the thriller aspect aims to please viewers who find the genre a bit lacking in the tension department, whereas the Queen's doomed love affair with Joseph Fiennes' Earl of Leicester (a plot element to which the BBC miniseries from 2005, starring Helen Mirren and Jeremy Irons, is a sort of sequel) is the polar opposite of the sanitized, passionless romantic tales that tend to feature in other period films.
Good-looking technique and strong storytelling would, however, be useless if the title role wasn't played by an equally great actress, and Pakur found the perfect Elizabeth in Blanchett: an odd choice she may have seemed (she was a complete unknown in Hollywood prior to being cast in this movie), but the performance she delivers is nothing short of astonishing. Doubtful, determined, passionate, naive, heartbroken, firm and charismatic - she is quite simply the best on-screen incarnation of Elizabeth in the long history of biopics. The supporting cast (Fiennes, Geoffrey Rush, Christopher Eccleston, Richard Attenborough) is also excellent, as expected from British and Australian thespians, but it is Blanchett who dominates the entire picture. Shame the Academy didn't take notice.
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