The Virgin Queen (1955)

Good concept, poorly executed.

It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties. It's a feast for the eyes. But what really makes this dramedy work is the acting.

. . . when this documentary was released in 1955. As the filming began, The Pill had not yet been invented, so it was ASSUMED that Liz was THE VIRGIN QUEEN. (Current polls prove that most Britishers wish that she'd STAYED that way, now that they've gotten a load of Prince Charles.) This flick proves that Chuck is just a chip off the Old Block in ditching HIS young Diana for a geriatric Camille. His Mom Liz is shown here dumping a lad by the name of Walt before hooking up (off-screen) with her near-Centenarian of Today, Phillip. Though the Teutonic Tudors renamed themselves after a Canadian Village (Windsor) as a Public Relations Stunt during World War Two, their Prussian Roots are still highly visible at the beginning of Liz's seemingly Endless Reign as depicted here in THE VIRGIN QUEEN's costumes. Just as this Corgi Whisperer would later drive her own sister to an Early Grave by nixing Margaret's marriage, a few years prior to THAT fiasco Liz tries to have her Cake and Eat It Too here by vetoing Walt's shot-gun wedding to his knocked-up Sweetie, Beth. (It's truly amazing how much Royal Trauma the invention of The Pill has alleviated.)

Copyright 1955 by 20th Century-Fox Film Corp. New York opening at the Roxy: 5 August 1955. U.S. release: August 1955. U.K. release: 26 December 1955. Australian release: 1 December 1955. Sydney opening at the Regent. 8,242 feet. 92 minutes.SYNOPSIS: Walter Raleigh makes the most of a chance encounter to gain an audience with Queen Elizabeth.NOTES: Fox's 35th CinemaScope feature. Le Maire and Wills were nominated for an Academy Award for their Color Costumes, losing to Le Maire's own "Love Is a Many Splendored Thing".Photographer Charles G. Clarke states that the dazzling camera-work in the movie was entirely due to his expertise. Koster was completely under the thumb of Bette Davis, who tried to interfere with the cinematography too. "She thought she knew something about cinematography and lighting. A couple of times she'd try and tell me my job. But I don't put up with that kind of business."VIEWER'S GUIDE: Parental supervision is advisable to encourage children to watch this historically valid interpretation.COMMENT: Originally intended as a routine CinemaScope romance between Walter Raleigh (Richard Todd) and one of Elizabeth's Ladies- In- Waiting (Elizabeth Throgmorton played by Joan Collins), this film became "The Virgin Queen" when Bette Davis, somewhat tardily was signed as its star. The script changes Miss Davis demanded, in order to build up her part, entailed considerable literary carpentry. Despite this, and despite the fact that Miss Davis claims to have completed all her scenes in eleven days, "The Virgin Queen" is wholly successful as a film.It is rare, in historical movies, for the dialogue to contribute to a sense of the reality of the period. In "The Virgin Queen", Elizabethans speak to their contemporaries, for the most part, in the language Will Shakespeare wrote. Many phrases have wit, and not a few period idioms are very happily used indeed. Bette Davis plays to perfection the role of Elizabeth — an elderly, watchful, suspicious, carping, greedy, lonely, proud, vicious and dangerous woman.Especially pleasing in the supporting cast, are: Robert Douglas as Sir Christopher Hatton; Romney Brent, a New York Stage Director, as the French Ambassador; Jay Robinson (who does not overact to the extent he did in "Demetrius and The Gladiators"), as Chadwick; and Dan O'Herlihy as Lord Derry, (a role entirely different from his previous Robinson Crusoe). Todd, Collins and Herbert Marshall (Lord Leicester) are all quite adequate.Director Henry Koster evidently agreed that fluid camera-work would enhance the film's pictorial effectiveness. Indeed, Koster's emphasis on pictorial effectiveness and his love of picturesque backgrounds, are very well illustrated in this film. The roads are as rutted and muddy, and the cobbled London streets as filthy, as were those of Good Queen Bess' time.To Sum Up: No matter what reservations individual spectators may have respecting liberties with history, "The Virgin Queen" is an excellent example of how Hollywood, at its best, can evoke the past with both skill and interest.

A belated follow-up to the similar PRIVATE LIVES OF ELIZABETH AND ESSEX, this sees Bette Davis once more donning the oddly-shaped wig in order to play Elizabeth I, this time at a later stage in her life. THE VIRGIN QUEEN explores Elizabeth's relationship with charming courtier Walter Raleigh, here desperately trying to finance an expedition to the New World.All of the elements for a fun, non-stuffy costume romp are here: splendid and picturesque locales, colourful costumes, heads on the block, and all manner of court intrigue. Enjoyment of the story is increased with some expertly-staged sword fights alongside the presence of British actor Richard Todd as Raleigh; he certainly cuts a fine swathe through the story as the dashing adventurer and makes the film his own.Davis remains delightfully waspish, frequently chewing the scenery with an undisguised relish when she can get away with it. An impossibly young Joan Collins plays Mistress Throgmorton, recipient of Raleigh's affections outside of the queen, making for one of the most bizarre love triangles put on film. History buffs will be in their element.

.....he was such a stupid git.That's what John Lennon sings in "I'm so tired" !But that's what's the Virgin Queen could have said of a man who was not afraid to challenge her even -for he is noble and chivalrous- if it's for Madam the Queen's glory.Koster's directing is static and unexciting and if the movie is interesting ,all the credit is due to the actors:Bette Davis was unique and irreplaceable ;her portrayal is so stunning we've got the strange feeling to see the real queen as she was .Richard Todd was used to this kind of aristocratic characters:the following year ,he would be Axel Fersen,opposite Michele Morgan's "Marie-Antoinette,Reine de France" by Jean Delannoy.And Joan Collins provides adequate if not outstanding support.