The Private Lives of Elizabeth and Essex (1939)

Simply A Masterpiece

Good movie but grossly overrated

Awesome Movie

As Good As It Gets

it is its basic virtue. the fascination to the performance of Bette Davis, giving the splendid portrait of the Queen. Errol Flyn who is the perfect choice for a role who seems reflecting himself in high measure. the atmosphere. and the refined simplicity of a story who becomes, scene by scene, not only familiar but touching. a film about duty and love , in which the mannerism of a great actress and the experience in the performances of romantic heroes of Flynn are the best pillars for support a film who, for long time after its end, remains one of the precious memories for the viewer.

"The Private Lives of Elizabeth and Essex" is one of the best movies that Michael Curtiz ever directed along with "Casablanca" (1942), "The Adventures of Robin Hood" (1938),"Angels with Dirty Faces (1938),and "Yankee Doodle Dandy" (1942) as well as being one of the best historical epics that I have seen in a long time. The movie tells the tale of the at best rocky relationship of Queen Elizabeth I and Earl of Essex. The movie stars Bette Davis as Queen Elizabeth in one the best performances of her career and Errol Flynn in his best work in "The Adventures of Robin Hood" in the previous year. The movie also has a brilliant supporting cast such as Vincent Price, Olivia de Havilland, and Donald Crisp. Curtiz really knew how to direct an effective period film as well as a good action picture even though this isn't the best movie he ever directed but it sure is one of them. Also the acting, set design, and the costumes are totally true to the period. One of the most effective scenes of the movie is when the Queen bans Essex from ever coming to her kingdom for his brash attitude, and within minutes ends up regretting her decision, and allows him to come back once Lady Penelope Gray (Olivia de Havilland) convinces her to let him come back to the kingdom. Curtiz has been known to clash with his actors for his movies to the point where he threatened to fire Errol Flynn because of his alcohol problems even though his directing skills were very good and he chose very good material to make into a motion picture. This is one of 1939's best films

THE PRIVATE LIVES OF ELIZABETH AND ESSEX is a colourful Hollywood re-telling of the turbulent affair between Queen Elizabeth I and her prime courtier, the Earl of Essex. This is a lavish production, shot in glorious Technicolor, boasting some of Hollywood's biggest names and impressing on the sheer scale of things, if not the authenticity.Indeed, once you see the swamp sets that stand in for a backward Ireland, you'll be laughing like I did. But overall this is a film that it's hard to dislike. You get Bette Davis, a natural fit for the part, at her waspish best, and Errol Flynn at his rakish prime. There's the requisite romance, action, and tragedy to keep the running time flying past. The film also has an unusually high propensity of future stars in its supporting cast: Vincent Price is here, as well as Leo G. Carroll, Alan Hale, the lovely Olivia de Havilland, and the eternally scheming Henry Daniell. This is the sort of film where you leave your brain at the door and allow yourself to get caught up in the lavish spectacle of it all.

"The Private Lives of Elizabeth and Essex" is one of the all time great dramas of cinema. A great love story of pomp and circumstance and its greatness rests on every aspect of cinema.First, this was a big budget film – and the money shows. The costumes are gorgeous and sumptuous and historicly authentic in every detail. Even the magnificent jewelry is true to the time. And, in this earliest of Technicolor films, the costumes are all the brilliant colors of the rainbow.In the sets, too, no money was spared. Look carefully at some passing scenes. You quickly realize how much money was spent on something the eye would set upon but for a few seconds. All these sets were purpose built for this film only, indoor or out. And, they too, are carefully researched and authentic.The direction is excellent in every detail. The blocking, cinematography, framing, etc, are competent and professional. However, what stands out the most is the lighting. None mastered light and dark, shadow and bright, than these directors of old who worked in black and white. How often their scenes recall the greatest master, Rembrandt, in the passions their lighting evokes.The last scene in the Tower throne room is a perfect example: Essex coming up the dungeon stairs in light that evokes the golden red fires of Hades. Elizabeth in light surrounded by shadow, a tiny island of womanhood surrounded by loneliness.Dialogue!! Listen carefully to some of these lines! Shakespeare is mentioned off hand and the dialogue evokes the master Bard: intense and exciting, yet thoughtful and provoking, like his own plays. Even better, its language evokes the courtly grace of Elizabethan England yet carries no want of passion nor difficulty in understanding.The cast? Bette Davis gives, I believe, the best performance of her life, and she gave many great ones. She was but the same age as Flynn in this movie, yet we doubt not she is the older of the two.Flynn? First, he never looked more handsome or manly in any of his films. He was at the peak of his manhood and beauty. His acting? He much admired Davis and did his best to rise to her talents in this picture. He never quite achieved it, but he did not fail it. However, his gift as a physical actor served him well, his facial expressions and body language carried him when is talent could not.The music wants nothing, it well supports the players in their efforts.This is not one of the great costume dramas of the 30's, or even of classic film. It is, and shall remain, one of the great dramas of cinema of anytime or era. And such is its greatness it can be enjoyed by young or old – yesterday, today or tomorrow.