Believe-me.com
By Jeff Huston
It is refreshing to see a film made from a slightly different perspective from what is usually seen in its given genre. It may not be completely different, but it stands out amongst similar efforts. Elizabeth is such a film. It takes the art house, period costume piece and skews a dark edge to it. This is not a revolutionary feat by any means, but it is a unique vision that sets it apart from many historical dramas of recent memory. This dark look, in coercion with a gripping story and bold performances, makes Elizabeth one of the more enthralling cinematic ventures of the year.
Set in mid-1500s England, Elizabeth is the dramatization of Queen Elizabeth I’s rise to power and the daunting opposition she faced once having ascended to the throne. It is a cloak-and-dagger tale where loyalties are always in question; one that climaxes to a conclusion that could be classified as Britain’s version of The Godfather. Director Shekhar Kapur has assembled an impressive piece of cinema here with his keen artistic eye and restrained, suspenseful character exposition.
The story of Elizabeth is essentially a power struggle with a ribald streak. In spite of threatening enemies, Queen Elizabeth chooses to rule and abide by Protestant teachings as opposed to the Catholic reign that preceded her. As a result, a potential Holy War looms over England as influential members of the Catholic Church join forces with coup-minded Royal advisors in an attempt to overthrow Queen Elizabeth, whom they see as heretical and blasphemous.
Coupled with this, there are foreign countries that look to capitalize on what they see as weakness in England, creating a truly daunting wall of opposition that surrounds Elizabeth on all sides. It is a tricky endeavor as people tend to say one thing while meaning another, with every conversation depending not on truth but rather the company of people assembled. With the exception of a few individuals, director Kapur keeps the motives of his characters veiled and uncertain. From this uncertainty rises gripping suspense and surprising revelations that keep the viewer glued in anticipation.
The cast is first-rate, displaying some of the year’s best performances. Leading the way as Queen Elizabeth I is Cate Blanchett (Oscar & Lucinda, Paradise Road). Blanchett commands the screen with power and nobility. It is a multi-layered performance as Blanchett allows us to see Elizabeth’s weaknesses and fears; but while in the company of both loyal subjects and threatening foes, she only reveals an intimidating resolve and uncompromising strength. Blanchett excels in every regard. Her Oscar nomination for this role was truly earned and a win would have been equal justice.
Oscar winner Geoffrey Rush (Shine) is the other standout with his turn as the mysteriously sinister Sir Francis Walsingham. A security advisor assigned to protect the Queen, Walsingham is the story’s greatest enigma. Rush’s subtle portrayal is chilling and ominous.
From one scene to the next, we never really know where his loyalties lay. Are they with the Queen? Her enemies? Or just himself? Walsingham's actions eventually tell the tale, but the fact that we don’t have a clue prior to those actions is a testament to Rush’s performance and Kapur’s direction. Walsingham is the polar opposite of Rush’s frenetic portrayal of trouble pianist David Helfgott in Shine, making his Oscar win for that performance seem all the more worthy.
Joseph Fiennes is impressive in his American debut. Over-shadowed in the past by his more famous brother Ralph Fiennes (Schindler’s List, The English Patient), Joseph puts himself on the cinematic map with his portrayal of Lord Robert Dudley, the charming Earl of Leicester who has won the heart of Elizabeth. Like his brother Ralph, Joseph has a strong screen presence as he exudes romantic passion and quiet strength through Lord Robert. These walls eventually give way to vulnerability, allowing Fiennes to showcase his range in this complex role.
Acclaimed director Sir Richard Attenborough (Gandhi, Shadowlands) moonlights as an actor once again (with previous roles including the Jurassic Park films) with his portrayal of Elizabeth’s most trusted confidante Sir William Cecil. His is the only character whose moral uprightness is apparent throughout. Attenborough’s Cecil is a noble servant who humbly submits all that he is to the Queen and her Kingdom. Christopher Eccleston’s Duke of Norfolk is a rare cinematic villain in that he actually acts from personal conviction, not caricaturized hatred or anger. He is intense without being over-the-top as he allows his passion to rise from his beliefs, not mere prejudices. Eccleston’s performance adds a level of depth to the story that could have been so easily missed.
Elizabeth is a sumptuous visual spectacle. The costumes designed by Alexandra Byrne (Kenneth Branagh’s Hamlet) are arguably the best seen all year. Rich in color and astounding in detail, Byrne’s elegant costumes are truly impressive creations. John Myhre’s (Immortal Beloved) production design is a medieval gothic realm. High arches of cold gray stone embody the castles seen here, also replete with strong pillars and ornate decoration. All of this is captured quite well in Remi Adefarasin’s ominous photography. With sweeping overhead shots and candid close-ups, the camera work by Adefarasin (assistant DP on The English Patient) creates moods of oppressive power and mysterious darkness. The combination of these talents result in the most visually breathtaking period film since 1995’s Restoration.
Composer David Hirschfelder (Shine, Sliding Doors) provides a music score that is powerful and haunting. With full classical orchestrations and spiritually dark choral voices, Hirschfelder’s bold compositions are as much of a force as the film’s passionate performances and arresting imagery.
Michael Hirst’s screenplay is an excellent mix of historical overview and dramatic complexity. As alluded to in earlier segments of this review, Hirst’s screenplay never shows its full hand until the very end. This poker face storytelling always keeps us guessing.
People’s loyalties and motives seemingly change from one scene to the next without their actions ever appearing disjointed or out of character. One scene we may think a person is good, then we’re not so sure the next (with the converse also being true). This mysterious complexity of characters makes up for the few lulls within the story itself. Shekhar Kapur has shot and assembled this story to near perfection. Most directors forecast a characters motives right off the bat, holding on lengthy close-ups so that we can "tell" if a person is bad or not. Kapur doesn’t stoop to this amateurish level, therefore we cannot label most of the characters as "good" or "bad" until the film’s final quarter.
But even so, Kapur shows wisdom with his inclusion of the ethically sound Sir William Cecil. In doing so Kapur doesn’t leave us completely adrift, giving the story a moral center as well as someone solid and trustworthy for us (the audience) to look to.
Elizabeth is an epic film that showcases one of the most courageous heroines to be seen on film in many years. It is a stirring account that is sure to engross those far beyond its core audience. To flippantly characterize this as "middle-aged Girl Power" would be to sorely misrepresent this film and the moral challenges that Queen Elizabeth faces. With depth, ambiguity, visual spectacle and sheer emotional power, Elizabeth was one of 1998’s most captivating experiences.
