FeistyUpper If you don't like this, we can't be friends.

Listonixio Fresh and Exciting

KnotStronger This is a must-see and one of the best documentaries - and films - of this year.

Hayden Kane There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

Marcin Kukuczka Taking into account various period dramas of the 1930s and their 'interpretations' of history, PRIVATE LIVES OF ELIZABETH AND ESSEX appears to be unique at various levels. In that 'uniqueness,' it still arouses enthusiasm in film freaks. Initially titled THE KNIGHT AND THE LADY, it features for the second time a very interesting couple: Bette Davis with Errol Flynn. The former one was already associated with some best movies of the period while the latter one was at the height of popularity thanks to the still astounding portrayal of Robin Hood. Under Michael Curtiz's direction (still before his world fame with CASABLANCA), a solid period drama evokes where necessities of filmmaking transcend those of historical accuracy.Treated solely as a screen achievement and no basis for any history analysis, the film's greatest strengths lie in ACTING, MUSIC SCORE and VISUALS.ACTING: BETTE DAVIS: The dramatic resonance of the story is not achieved so well thanks to its source (a stage play by Maxwell Anderson) but, above all, thanks to the acting of great caliber by Bette Davis and her difficult (not to say doomed) collaboration with her male co-star. As Ms Davis openly loathed Mr Flynn from the very start of the production, it seems easier to have evoked contradictory emotions in her and prompt her to deliver that jungle of mixed 'make-me-love-hate-you before the camera. She both loves him and curses him, she seems to be perfectly appealing in her policy of ruling while alone and, at the same time, appears to be totally unable to exist without him. At times concentrated on the country, on England whom she calls in a purely patriotic line at the finale 'the most enduring love' of hers but, at other moments, solely focused on herself and the 'bitter aging mask' that makes her break all the mirrors in fury of not standing the sight of herself. Here, Bette Davis delivers an excellent contrast between and within a woman and a queen, the torments that truly gain sovereign control over her. That certainly affects the storytelling and a viewer. But in all that, Ms Davis manages to dominate our attention. The portrayal of the queen goes with her policy of peace which relies heavily on some other Hollywood productions of the time, including Garbo's 'interpretation' of the Swedish queen. Some lines about the nonsense of wars simply echo those ones in the 1933 MGM production (a note: Sir Laurence Olivier was going to be cast in both films....but...his leading ladies differed in the attitudes: Garbo appeared too cold in his arms while Bette Davis appeared too much after him...producers barely obeyed leading ladies' wishes). But this did not stop Bette Davis to portray a neurotic character in an excellent way.ERROL FLYNN: Because of the requirements of the drama and the inevitable focus on the queen, Robert Devereux, the Earl of Essex becomes a 'playboy' of the story who does not fully restrain the temptation of 'counting too much on queen's loves' (with reference to Lord Bacon's advice). He is hard to be tarnished by his enemies but someone who may easily eclipse the queen's popularity. In one lucid moment, he comes back triumphant from Cadiz and appears to be struck by the jungle of lies and deceit that he finds on the court. Foremost, however, he beautifully delivers torments at the queen's reaction who, actually, does not know if she hates him for making her love him or herself for needing him so much. His gentle, rather extremely subtle performance, though, does not remain 'eclipsed' by Ms Davis's totally but has its moments particularly worth attention.SUPPORTING CAST: In the role of Penelope, at the release of the film, OLIVIA DE HAVILLAND is another member of the cast who was widely popular among the audiences thanks to the fresh memory of GONE WITH THE WIND. In this rather genuine role of a queen's lady in waiting, she puts some feelings and heart to the harsh rules of the court, to the maliciousness of men in conspiracy and toughness of leaders. Above all, however, let me echo once again the aforementioned movie about Queen Christina. Doesn't the queen kissing Penelope on the lips make you think of Christina kissing Ebba? A very thought provoking parallel... Anyway, one among the supporting performers and the newcomers at the time is VINCENT PRICE in a very interesting and (unfortunately) hardly developed role of Walter Raleigh. He portrays an interesting and sophisticated character in some absorbing moments. Highly worth mentioning.MUSIC SCORE: Much of the dramatic touch of the movie is achieved thanks to Erich Korngold's score. It memorably reveals its triumphant moments, its romantic tunes and, in the most magnetizing way, the haunting flair to all. This beautifully corresponds to the emotions of the characters, to the changeable moods, to some bitter conclusions at the finale.VISUAL SPLENDOUR: Seemingly something we take for granted especially in the movies of that genre, camera-work, costumes, lights and shadows work perfectly in this film. Just a brief mention of the atmosphere of doom that is memorably prompted and evoked when drama reaches its crescendo should exemplify the enormous contribution of that aspect within the general mood of the film.Not for any greater glory of history on screen, but, undeniably, one of the most entertaining period pieces you may ever see. Despite the fact you may forget most of it after some time, it is really hard to skip in memory certain moments delivered by Bette Davis. A gem!

Michael Neumann In a year that arguably saw Hollywood at its zenith came this opulent Technicolor re-staging of the antagonistic love affair between an aging Queen Elizabeth I and the dashing young Lord of Essex. It may be more hokum than history, but underneath all the studio pageantry is a compelling drama of power and pride, with a tense, meticulous performance by Bette Davis as the bitter, lonely queen, whose first loyalty, even in love, was to her throne. The film gave Davis one of her signature roles, alongside Errol Flynn, then at the peak of his matinée idol charm and not required to be anything more than heroic, a poise which came naturally to him. The two stars reportedly fought like cats behind the cameras, adding an appropriate fire to their on-screen exchanges, but because of the age difference separating the two characters their embraces carry an uncomfortable hint of necrophilia. Among other virtues the film was notable for daring to present a downbeat (but historically accurate) ending, at a time when such things were almost unheard of.

evening1 Bette Davis's Elizabeth is the best thing about this costume drama. Errol Flynn is a lightweight in comparison, but then again the queen was 30-plus years his senior. Davis embodies the realist queen in all her fierce intelligence and hair-trigger perception.She beautifully invokes the poignancy of a woman fiercely loyal to her people to the point of having to sacrifice the only man she ever loved. Yet the movie never really makes clear what she saw in him, other than a pretty face. Flynn seemed like a baby on the Irish battlefield and though I indeed found him handsome -- does anyone else see a resemblance to Kevin Kline? -- I didn't find him very interesting. However, it's clear that Elizabeth died spiritually when he did. What an amazing final scene!One minor aside: I'd hoped the movie would find a way to show at least a snippet of a play by the man referred to as "Master Shakespeare," but it never happened. (Though the drama herein would certainly have interested the Bard.) This movie leaves me curious to see the more modern version with Cate Blanchette...

Bill Slocum In this corner, the toughest dame in Hollywood, the greatest actress of them all, flashing those famous eyes and a mean right hook - Bette Davis.And in this corner, the Tasmanian Devil, a man who slept and drank his way to legend and knew how to wear a pencil-thin mustache - Errol Flynn.Like "Cleopatra" and the 1967 version of "Casino Royale", "The Private Lives Of Elizabeth And Essex" is famous not for what's on screen but what went on behind it. Contract disputes, title changes, and a slap that left quite a bruise on Flynn's ego if not his jaw - it all somewhat drowns out a sappy, highly fictionalized history lesson amid Technicolor pageantry and brocaded gowns. With all that, it's easy losing sight of the fact Davis delivers a terrific performance, and Flynn punches his weight with her pretty well most of the way.Queen Elizabeth (Davis) rules England with a firm hand and an aching heart. At the center of her woe: Rascally Earl of Essex (Flynn), who says he loves her while pushing her buttons with impetuous insolence. As Essex draws fire from his fellow nobles, Elizabeth must choose between the man she loves and her throne. Edward VIII she's not.Flynn fans will be disappointed - it's Davis's show. But what a show! She is very much in charge with a powerhouse performance that overdoes it more than a bit but compensates by being so captivating and inventive throughout. Her hard stare, her fidgeting hands, surprise moments of amusement and tenderness, Davis's performance is not all that deep but fully realized.Flynn by contrast seems slow at first, struggling with second-banana dialogue he didn't like. Just watch him deliver the line "I love her...I hate her...I adore her", and you can pretty much see him blowing a raspberry at the whole thing.But a funny thing happens, at about the time Essex is slapped by Elizabeth in a scene Flynn later said was done for real by Davis as a show of professional contempt: Flynn raises his game. His acting picks up more than a little, outside his normal swaggering-swashbuckler range, and the two stars settle into a satisfying give-and-take that raises the movie to near-success.If only the dialogue wasn't so dreadful. "I planned to put you through torture," she tells him after a long separation."I've been tortured enough," he sighs.Michael Curtiz's direction bends to Davis more than Flynn, despite the latter being Curtiz's meal ticket at this time. Curtiz always had a mind for what clicked commercially, and Davis was Hollywood's most celebrated actress. Flynn only gets one brief moment to fight with his sword, in a montage, and shares nearly all his scenes with Davis.Nanette Fabray as a court attendant who brings out the Queen's gentler side and Donald Crisp as the basically decent but shifty noble Francis Bacon inject some personality to otherwise stiff proceedings. Others, including a young Vincent Price, come off stiff. Olivia de Havilland is also on hand in a surprisingly minor role that at least offers her a little more bite than she normally got to play, as a vixenish lady jealous of Essex's love for the Queen.SPOILER ALERT - The big finale is utterly ridiculous and ruins much for me, begging us to belief that Essex so loved his lady that he would rather die than compromise her rule, because if she doesn't kill him he fears his ambitions will push him to unseat her. He even kisses a ring she gave him as he stands before the executioner's block. What a guy... - SPOILER ENDS"Elizabeth And Essex" does offer sumptuously-lit sets and lilting Ernst Wolfgang Korngold music to make it all go down. It never makes a lot of sense, except as a vehicle for bringing together two rather unhappy people who manage to throw off some decent sparks together, reminding us why Hollywood was such a compelling factory of illusion.