The Private Lives of Elizabeth and Essex

I couldn't disagree more "epinions" critic's commentary. Here's why Davis' (1939) performance of a historically film favorite Queen, Elizabeth I, is one of her best. 1st, Davis was 31yo & portrays a much older HRH. 2nd, Davis contends with an extremely sexist & notoriously uncooperative leading 'man' personality who never claimed to be a great actor: 30yo arrogating, egotistical stud, Errol Flynn (who also never won a major acting award & received 2 "Sour Apple" slam-awards for "Least Cooperative Actor," of 1943 & 1948). That Flynn even completed this movie is a credit to Davis being professional enough to tolerate him. 3rd, while filming on the set, Flynn physically assaulted Davis knocking her to the ground; yet, during the movie she played the HRH as if she's having a blast with Essex. 4th, Davis changed her voice to a cockney accent as if effortlessly. 5th, Davis had already been nominated for 3 & won 2 Oscars before & close to the time she was playing this Queen. So, Davis delivers a performance that makes audiences believe she's madly in-love with a real jerk (but lovable one).

It's not evident in her voice, mannerisms, or famous turquoise eyes that Davis knows the man with whom she's playing lovers is only a well-known personality, not a great actor. To date, I've never seen any other act like Davis' where she's tremulously expressing the tension & emotion of an HRH. Mastery of her eating mannerism is the kind of detail Davis intended to project, for example. Flynn's hollowness must have been like watching a fly in ointment.

He doesn't have to act to be a shallow, dashing, politically stupid Essex! Utterly reliant upon what was considered being handsome to gain access to social status, like the Earl, Flynn too misunderstood with whom, power wise, he was dealing until the end. To Essex & Flynn, any woman is a body, an object, that will acquiesce to the charms & looks of a man; upon demand. Disgruntled competitors of the court, for Essex & Flynn, are jealous viers for the affections of Elizabeth, or rather, their object--a 'something' they possess because they can. Naive Essex is too busy womanizing to be wary of how treacherous Cecil & Raleigh are becoming; clueless too of Elizabeth's political wherewithall.

Credit is due a tight script that provides its characters space to speak from their passions. Davis' HRH is cunningly intelligent. This Queen lacks 1 loyal equal of an ally. She's surrounded by power-hungry swarms of leeches. Her iron will to represent living, breathing, ordinary people provides the impetus to avoid & prevent others from starting wars. Though her stealth rule is assailed by the court's men who underestimate the equal power of women, Elizabeth I uses that common error to command respect, admiration & profound public loyalty from ordinary people--the majority of whom are women.

The aging HRH consistently seeks out a companion of impartial counsel from her court of self-servicing advisors. Hers is a lonely reign without any equal which embodies impartial loyalty to England's masses. Penelope (de Havilland) might have been closer to the Queen had she not envied her so. Essex's foolish dismissal of her serves Penelope like rocket fuel to destroy their relationship. It's too late when Penelope turns loyal to the HRH.

Credit the script again for many intimate exchanges between the HRH & Earl. Through them the Queen learns what are the Earl's true ambitions. As the script would have it, Elizabeth I not only sought truth but also drew it out of people. That saving grace is why she reigned long & so well.

The Private Lives of Elizabeth and Essex This has to be perceived as one of Bette Davis' lesser efforts, especially when compared to her performance as the same character in the now available DVD release of "The Virgin Queen" which she did when she was closer in age to Queen Elizabeth. Also Davis' costar in "The Virgin Queen", Richard Todd, is more appropriate because his level of skill as an actor surpasses that of Errol Flynn in this disaster. Whereas Flynn portrays the Earl of Essex, Todd portrays Sir Walter Raleigh. Not being very much aware of British history, I presume these are different characters with whom Elizabeth was involved at different times in her love life. In any case, Davis' dialogue in "Virgin" is so sharp and witty that it approaches Shakespeare and Davis' spot on delivery of her lines will have you marveling at her and clinging to every word.

The Private Lives of Elizabeth and Essex may have been the set from hell - Bette Davis despised Errol Flynn, who hated director Michael Curtiz while Olivia De Havilland was given a thankless supporting role as Jack Warner's way of keeping her in her place after the success of Gone With the Wind - but it turned out rather splendidly. Offering Hollywood rather than history, and with all the glories that only the studio system at its peak could offer, it's grand entertainment. Glorious Technicolor cinematography from Sol Polito, lavish production design from Anton Grot that would be reused in Flynn's version of The Sea Hawk and Erich Wolfgang Korngold's triumphant score are all just the icing on the cake.

With just a few bleak depictions of Essex's disastrous Irish campaign, there's not much in the way of swashbuckling: the emphasis here is on doomed romance between two people drawn to each other by the very things that keep them apart. Flynn's charismatic but egotistical and fatally overambitious Essex, whose popularity is never matched by the reality of his (under)achievements, is one of many thwarted suitors who attempted to wear the crown by wooing the woman while she was equally determined not to be ruled by weaker men. It's her power that appeals to him and his carefree short-sighted irresponsibility that attracts her, but though Davis' bitter Elizabeth may try to grab a few moments of happiness with him, she's all too aware that for her to surrender to a husband would be to abdicate all power and doom England to disastrous rule. The tragedy comes from the fact that he's all too aware of his own weaknesses, but too proud to conquer them or even to save himself when offered the chance - something of a change from the usual Errol Flynn hero. But then this is not exactly a typical Flynn film: for all his charm and bravado, Elizabeth is the real focus of the film. And while many of the Flynn film regulars are present and correct, most are playing very different roles. De Havilland is less-than-sympathetic for once as the lady-in-waiting taunting the queen over her lost youth, Alan Hale appears as Flynn's enemy rather than his sidekick for a change, while even Donald Crisp's usual onscreen integrity is discreetly tucked away lest it interfere with his own ambitions at court when the wind starts to change. Only Henry Daniell, in a virtual dress rehearsal for his role in The Sea Hawk, plays true to form as one of the plotters alongside Vincent Price's Walter Raleigh.

As history it's bunk, but as a doomed romance, complete with a memorably tragic final encounter, it's absolutely engrossing. Good extras on the DVD too, though it's a shame they could only find a black and white trailer for such a magnificent Technicolor film.

As before, There is no one like Bette Davis, and this movie proves it. No other women in Hollywood at the time of the making of this picture would have gone out on the limb that Miss Davis did - That is why this picture is so good. Errol Flynn, always a feast to look at, is extremely up to the task of going toe to toe with Bette Davis as Queen Elizabeth I, Mr. Flynn, possibly was better than even he thought he could be - and this movie proves it -

This historical epic is definitely Hollywood-ized, but Hollywood-ized in the best sense: there are lavish sets, rich technicolor costumes, big dramatic situations, and biting dialogue. And it's definitely intelligent Hollywood-ization, too, as I'm betting there's enough truth here about the real-life situation between Elizabeth I and Lord Essex to give one at least a rudimentary grounding in that situation. And a painless grounding it is: just sit back and enjoy the verbal jousting and inflamed passions between Bette Davis and Errol Flynn. History was never so entertaining.

An overall wonderful print (only occasionally marred by a blurry, misaligned technicolor shot) is accompanied by some interesting special features. The oddest one is a short subject about a little kid who runs a kingdom about to be overthrown, until a Wild West show comes to town to save the day. There's also a rare serious-in-tone Warner Brothers cartoon from 1938 or so, depicting Porky Pig learning to appreciate our nation's history and what the words behind the "Pledge of Allegiance" mean. Interestingly, the words "under God" don't appear in Porky's (or Warner Brothers') version of the circa-1938 pledge. So, the belief in a separation between church and state DIDN'T start with modern-day "lefties"? Funny what you can learn from an old cartoon... talk about "out of the mouths of babes".