Elizabeth [HD DVD]

Release Date: 09/18/2007

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Elizabeth

Among Great Britain's monarchs, two queens stand out in particular: Elizabeth I. and Queen Victoria. Both came to power at extremely young ages, and at times of political instability which would have set the odds of survival against any new ruler, but particularly so, against a woman. Both beat those odds in ways few people would have foreseen: They not only persevered but ruled for a nearly unparalleled long time, and during their reign achieved to both strengthen England's economy and international stance and give new direction to its society. We have long come to identify their reign as "the Victorian Age" and "the Elizabethan Age," respectively. Yet, while "Victorian England" is an expression often used synonymously with moral conservativism, Elizabeth I. fostered not only the development of science but also the theater and arts; providing fertile ground for the works of Shakespeare, Marlowe and many others. (Influenced by her husband, Queen Victoria supported the exploration of new scientific developments, but the dominant force of her formative years as a ruler was conservative prime minister Lord Melbourne, who once advised her not to read Dickens because his books were "full of unpleasant subjects.") And while Queen Victoria derived strength from her long, stable marriage to German-born Prince Albert, Elizabeth I. resisted the pressure to marry at all and became known as "the Virgin Queen."

Looking back at Elizabeth's reign, we see less a woman than an icon; the symbol of what her rule has come to stand for. Shekhar Kapur's 1998 movie explores, as the director explains in the DVD's "Making of" feature, the making of that icon; the formative processes, influences and personalities surrounding the young princess's ascent to the throne and her first years in power - and of course, at the center of it all, Elizabeth herself, magnificently portrayed by Cate Blanchett (who should have won the Academy Award for her performance). The princess, as this movie sees her, certainly knew her insecurities about her role in life and in English politics, her people's expectations, and the intrigues of her own court. But she was also, as Kapur has her affirm to her protector and spymaster Walsingham, "[her] father's daughter" - the proud, headstrong daughter of Henry VIII., who quickly learned from her mistakes and assumed true leadership early on. Having inherited a country deeply torn in religious conflict, and having barely survived the machinations of the court of her Catholic half sister and predecessor, "Bloody" Mary I., to find her, the "heretic," guilty of treason and execute her, one of Elizabeth's first acts in power was to have parliament pass the Act of Uniformity, reestablishing the Church of England formed by her father. And while she respected her Secretary of State Sir William Cecil, she eventually came to realize that his advice was overly guided by the hope that she marry and produce an heir to secure her kingdom, and she reluctantly retired him into his status as Lord Burghley.

Indeed, there was not one single man who dominated Elizabeth's life but several, and Kapur was able to secure an extraordinary cast to surround then-newcomer Blanchett. Richard Attenborough plays Sir William Cecil with a humility and quiet dignity that few besides him could have brought to the screen. Christopher Eccleston bristles as the powerful, ambitious Catholic Duke of Norfolk, that key player from the inner circle of Mary's court who retained his position after her death and became the one member of Elizabeth's council most dangerous to her reign. Joseph Fiennes reprises his role as a burning-eyed, handsome lover from the almost simultaneously released "Shakespeare in Love" (which, while a splendid movie in its own rights, eclipsed much of the limelight that "Elizabeth" would so richly have deserved), playing the man most closely romantically linked to Elizabeth, "Sweet" Lord Robert Dudley, Earl of Leicester, whose love for her - at least, as this movie would have it - is ultimately his own undoing. "You're still my Elizabeth," the erstwhile princess's lover insists at a ball some time after her coronation. "I am no man's Elizabeth," the queen retorts, and affirms for all the court to hear: "I will have one mistress here, and no master!"

Most impressive of all the queen's men is Geoffrey Rush's portrayal as her protector, secret advisor and supreme spymaster Francis Walsingham, the creator of what much later became Britain's MI-5, whose role Rush approached, inspired by the description Kapur had given him, much like the Hindu god Krishna, as "a very wise man who can kill people ... while smiling," as he explains in the DVD's "Making of" featurette - an ability which his young, unfaithful companion in exile learns to know as much as powerful Marie de Guise (Fanny Ardant), aunt to Elizabeth's would-be suitor Henri d'Anjou and mother of her later rival Mary of Scots; who had refused Henry VIII.'s suit remarking "I may be big in person, but my neck is small," only to find herself terminally surrendering to Walsingham's unmatched cunning.

Key to any great historical movie is the authenticity of its production design, and "Elizabeth" overflows with the rich and luxurious colors of the queen's renaissance court and its balls, gowns and pageants. But there are also the vast, high stone halls of the palace and the royal cathedral, symbolizing the perpetuity of the monarchy reestablished by Elizabeth I. At last, when contemplating a statute of the Virgin Mary, Elizabeth wonders whether, to perpetuate her reign, she must be "made of stone;" and it is again Walsingham who answers: "Aye, Madam, to reign supreme, [because] all men ... must be able to touch the divine here on earth" and as yet, "they have found nothing to replace [Mary]." And so, this movie tells us, the icon we all know was created - and like a nun married to God, a dehumanized Elizabeth reenters her council and holds out her hand to her old Secretary of State: "Observe, Lord Burghley: I am married to England!" -- Themis-Athena (from somewhere between California and Germany)

Release Date: 11/05/2002

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Elizabeth

This is a magnificent film with a stellar cast giving award calibre performances. Cate Blanchett deservedly won the Golden Globe Award for Best Actress in a Drama. She is truly the heir apparent to Bette Davis and Glenda Jackson, both having portrayed Elizabeth I in memorable performances. Cate Blanchett now joins their ranks with her own incredible performance in that role.

The movie begins in 1554, in an England that is bitterly divided on the issue of religion. Ruled by Mary Tudor, Henry the VIII's oldest daughter and a devout catholic, protestants are being burned at the stake as heretics, giving rise to Mary's popular name, "Bloody Mary". Reviled by her Spanish husband and in poor health, Mary is badgered by her advisors to do away with Elizabeth, her considerably younger, bastard half-sister. This Mary will not do, no matter how pressed. Still, Elizabeth lives her life with the sword of Damocles hanging over her head at all times.

When Mary dies, Elizabeth takes the throne, no more than a mere slip of a girl wearing the crown of England. Her advisors look to guide her, and she follows their lead, until she determinedly takes control of the reins of power, and follows her own counsel with the help of her most trusted advisor, Francis Walsingham, played to cunning perfection by Geoffrey Rush. With his help, she is able to fend off the ever present threats to her hold on the throne of England, not just from her own courtiers, but from Marie de Guise, Queen of Scotland, deliciously played by Fanny Ardent.

In the film one sees the transformation of Elizabeth take place. She goes from being a young woman, really no more than a girl, who is in love with Robert Dudley, the Duke of Leicester, dashingly played by Joseph Fiennes, to the commanding woman history would ultimately come to know as the Virgin Queen. Confronted cruelly with the politics of intrigue and betrayal, she learns that to stay in power and effectively lead her people, she must rule with her head and not with her heart. She succeeded brilliantly, leaving a rich legacy that would be remembered as the Elizabethan era.

This film is an absolute masterpiece. While not quite historically accurate, the film is a broad overview of what happened when Elizabeth first took the reins of power. It also attempts to explain why Elizabeth I would be known as the Virgin Queen. This film is a lush and lavishly costumed medieval tapestry that is woven with great care. It is, without a doubt, a magnificent movie that will hold the viewer in its thrall. Bravo! -- Lawyeraau (Balmoral Castle)

Release Date: 02/06/2001

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The Aviator (Two-Disc Special Edition)

Howard Hughes, this is your life - and what a life it was. This movie vividly portrays the life and times of one of the quirkiest, most reclusive men ever to inhabit the earth, warts and all, and while it answers a lot of questions, it raises a few of its own.
Running a whopping 170 minutes - that's almost three hours! - it begins with a scene between Hughes as a child, and his mother, which ultimately leads to his developing a phobia about germs that would make Adrian Monk look like an OCD amateur.
The movie focuses on his love of aviation, his incredible vision, his passion for building and flying aircraft, and the beautiful women whom he allowed to get close to him.
Leonardo DiCaprio as Hughes looks a little uncomfortable at the beginning, but quickly grows into the role, and by the end of the movie he actually becomes the character he plays. Cate Blanchett portrays Katherine Hepburn, the woman who meant the most to him, and she does so with style and panache. This woman is so talented that she could play any role she wanted to, and she aces this one in a memorable show stopping performance. Solid supporting roles are played by Kate Beckinsale (a beautiful Ava Gardner), Alan Alda (Senator Brewster), John C. Reilly (Noah Dietrich) and Alec Baldwin (Juan Trippe), with star cameos by Jude Law and Gwen Stefani (no Hollaback Girl here).
Excellent costume design and eye popping special effects round out the movie, which although a little long, was extremely entertaining.
Bigger, faster planes - Fast life and famous women - Look, but never touch
Amanda Richards July 12, 2005

Release Date: 05/24/2005

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The Aviator (2-Disc Full Screen Edition)

Release Date: 05/24/2005

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The Aviator

This is an older movie, with a different plot:
Christopher Reeve (Superman) and Rosanna Arquette (Pulp Fiction) star in this thrilling post-World War I drama about survival, romance and the resilience of the human spirit. Co-starring Oscar nominee* Jack Warden (The Replacements) and Tyne Daly ("Judging Amy"), The Aviator soars with adventure. As a solo pilot for the nation's newly-formed airmail service, Edgar Anscombe (Reeve), a man haunted by a tragic memory, has made a career of keeping tohimself over the years. But one day he's unexpectedly assigned an involuntary passenger: the rebellious and outspoken Tillie Hansen (Arquette), whose unrelenting impudence drives Edgar crazy! But when their plane is forced to crash-land in a rugged and desolate mountain canyon, the unlikely companions find they have only one source of hope against the excruciating elements, the savage wilderness and a pack of hungry wolves: each other!

Actors: Christopher Reeve, Rosanna Arquette, Jack Warden, Sam Wanamaker, Scott Wilson
Directors: George Miller

Release Date: 04/16/2002

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The Good German

"The Good German" provides viewers with intriguing film noir related to a war setting. Director Steve Soderbergh opted for a black and white treatment of a film based in war torn Germany at the end of the conflict for a very good reason.

Some reviewers were critical of using film noir format at a current point of film making when war ravaged Germany could have been shown using the latest in color technology. "What was the point of it?" critics have asked pertaining to Soderbergh's decision.

As someone who has written two books on the subject of film noir, I will use the opportunity to jump into Soderbergh's shoes and explain what I would presume his motivation to be. While so many critics remain ensconced in the captivating old detective genre starring a Robert Mitchum, Dick Powell or Humphrey Bogart, war provides a starkness all its own.

In viewing "The Good German" I concluded that the starkness of black and white suited the tenor, tone and mood of a drama set against the rubble of the great city of Berlin after the destruction of war had taken its tragic toll.

As for the dramatic elements, George Clooney was ideal as the war reporter who returns to Germany after hostilities have ended and reheats old passions with sleek, sexy and very savvy Cate Blanchett. When he learns that she has been having an affair with the young soldier who has been assigned to be his driver Clooney becomes disgusted, seeking to learn more about a woman he now believes to be a self-serving opportunist up to her eyeballs in intrigue.

After having a violent physical confrontation with his young driver, Clooney becomes more curious as the driver's body washes up on shore after his corpse has been floating in the river. The reporter becomes more determined to find out more about the woman who had been his lover. He is now convinced that he knew far less about than he had earlier believed.

Cate Blanchett plays her role of a lady of mystery with consummate skill. She immerses herself in her role as a German so well that she is physically unrecognizable from the star that played another great actress named Kate with a "K", namely Hepburn in "The Aviator."

At the film's end Clooney's confrontation with Blanchett reveals her as someone determined to survive during a war period and in a city where bodies are falling all around her.

The lesson to be learned is that life is a battle for survival and that the Blanchetts of the world are the most skilled at playing it, enhancing their chances to endure. Philosophers continue to ponder the question of the morality of tactics pursued that would be anything but acceptable under less compelling circumstances. -- William Hare (Seattle, Washington)

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Notes on a Scandal

One of the more critically lauded pictures of 2006, I was primarily interested in "Notes on a Scandal" for its Oscar nominated screenplay by Patrick Marber. Previously having brought "Closer" to the screen, I was eager to see his follow up. I know "Closer" had its detractors--but for me the writing was scathingly funny and refreshingly adult. And the concept behind "Notes" also sounded intriguingly grown-up. Let's be honest--who wouldn't want to see Cate Blanchett and Judi Dench square off? Emotionally and physically, this could be a battle of two of our most respected actresses. And while I did admire much of the film, the thing that ultimately disappointed me was the screenplay--and the aspects of character motivation that it doesn't bother to address.

"Scandal" introduces us to Blanchett, a new art teacher at the local high school. Awkward to her new position, she is something of a joke to a more experienced faculty member (played by Dench). Dench is a stern disciplinarian, and one day assists Blanchett with a confrontation. Captivated by the naivete of the new teacher, Dench takes her under her wing. Forming a personal friendship, Dench even visits Blanchett's home and spends time with her family. Clearly yearning for an even closer friendship, Dench is startled to discover Blanchett is carrying on a sexual liaison with one of her students. Instead of turning her in, though, she uses the knowledge to gain psychological control over Blanchett. What follows is a battle of wills as the truth begins to emerge--both about the scandal and about Dench's ulterior motives.

I certainly think that "Notes On a Scandal" is a good movie bolstered by strong performances. I don't think, however, that it's quite as perfect as some people would make out. Blanchett's Sheba is such a superficial character--right down to the artificiality, the staginess, of her name. Blanchett does what she can to make the character appealing, but in no way do we ever really understand her motivations. Her casual indifference to putting her family and livelihood on the line is never explained, and we aren't invited to see anything deeper than what the character puts out for the rest of the world. Why is she married to a man old enough to be her father? What keeps her involved in teaching when it seems an uncomfortable fit? Why would this seemingly lovely woman, with a happy (by all appearances) home life, sacrifice everything to commit a crime? Why does she willfully engage in an act society would judge as morally reprehensible? Keeping Sheba an enigma didn't ruin the film for me, but it did keep me at arm's length. Lacking a basic understanding of the "scandal" referenced in the title definitely kept this entertaining film from being "great" and insightful--at least to me.

Judi Dench does have a field day, however. Rarely cast in a villainous light, Dench really sinks her teeth into this meaty role. Without make-up and looking every bit her age, it's a vanity free performance. At first, dismissive and condescending to her new colleague, she lights up at a potential friendship with Sheba. Then when the scandal breaks, she takes it as a great opportunity to insinuate herself even further into Sheba's life. The undertones of attraction and loathing are well played, and her menace increases as her desire to control Sheba becomes more apparent. I recommend "Notes" not as high art--but as a study in conflicting acting styles, and to see two great actresses go head to head. Like Crawford and Davis in "Baby Jane," I was more fascinated by performance than film. But that said, "Notes" is still a good movie--it just had the potential to be of much greater emotional impact with stronger psychological implications. -- KGHarris, 02/07.

Release Date: 04/17/2007

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