elizabeth the golden age Tagged Articles at Cinematical

Oscar night is over, and everyone is basking in the glow of the winners. Or, excuse me, the "recipients" of the Oscars. Not too many years back, the politically-correct police changed the language from "and the winner is" to "and the Oscar goes to" because that made the losers sound less like losers. It's a joke now when someone says, "It's an honor just to be nominated," but I believe that's true. I think it would be unbelievably cool to be nominated, even if you were in the Best Documentary Short category and the bouncers tried to keep you from entering the theater. This week's column is dedicated to the losers that were honored just to be nominated.

My favorite film of the year, The Assassination of Jesse James by the Coward Robert Ford, which is gone from theaters and available on DVD, received two nominations and lost both, which I expected. But this is a film that, like Anthony Mann's The Naked Spur and many other Westerns, will grow in stature despite its lack of Oscars. The year's other big Western, 3:10 to Yuma, also lost its twin nominations, but will probably endure as long as there remains a small, dedicated audience for Western adventures. On the other hand, I find that very few films in the "disease of the week" genre have much life after the Oscars. But The Diving Bell and the Butterfly (161 screens) will be different, for two reasons: 1) it was actually really, very good, and 2) it didn't win anything.

Sometimes when I can't sleep I run through lists of my "desert island movies," or the ten movies I would most prefer to have with me on a desert island (provided there was also a DVD player, flatscreen TV and electricity). It's an interesting game, because you get deeply into questions of what is good versus what is enjoyable. For example, Joel and Ethan Coen's new No Country for Old Men may be their best film, but it's not as much fun as Fargo or The Big Lebowski. The other night, I started playing another game: desert island movie star. If you could take the entire filmography of a single movie star to a desert island, whose would it be? (For the purposes of this column, I'm sticking to my usual realm: actors appearing in movies currently playing on 400 screens or less. Otherwise we could continue to play on into the length of a book.)

British actors are always a good choice, because they generally have a kind of old-fashioned work ethic; they're more interested in being a good worker than in crafting a certain type of career, so you've got more to choose from. Take Michael Caine, currently in Sleuth (7 screens). He's a double Oscar winner, but he's made a ton of movies worth looking at a second time, notably The Prestige, Batman Begins, Children of Men, The Man Who Would Be King, Hannah and Her Sisters, Get Carter and Dressed to Kill. On the downside, you'd also be stuck with stagnant award-winners like The Cider House Rules, as well as turkeys like Jaws: The Revenge and On Deadly Ground and Bewitched. But at least you'd have more than 100 to choose from.

Elizabeth: The Golden Age reunites director Shekhar Kapur and Cate Blanchett in the follow-up to the 1998 film Elizabeth, which told of the early years of Queen Elizabeth I. The earlier film deconstructed the earlier history of Elizabeth I, when she ascended to the throne following the death of her half-sister, Mary Tudor, aka Bloody Mary. The daughter of Henry VIII and Anne Boleyn (who was beheaded when Elizabeth was three), Elizabeth had been raised a Protestant in the Church of England. Mary Tudor, a devout Catholic, had been married to Philip II of Spain, which made him, until Mary's death, the Prince Consort of England.

Elizabeth: The Golden Age picks up some years after Elizabeth left off, with the Protestant Elizabeth now firmly in control of the British crown. Once again, Elizabeth faces enemies and insurgency, this time from her Catholic cousin, Mary, Queen of Scots (Samantha Morton), and her former brother-in-law Philip II (Jordi Molla), who comes at odds with his former sister-in-law over both religion and her approval of the capture of Spanish treasure ships. The Inquisition is in full force in Spain, and the Catholic Philip regards Elizabeth as a heretic and whore, believing that God wants him to bring her down and bring England under the firm hand of the Catholic Church and the Inquisition. Once again, Geoffrey Rush is by Blanchett's side as Francis Walsingham, Elizabeth's spymaster and adviser, whose intelligence about a plot against Elizabeth saves the queen's life, even as it sets in motion a war with Spain that could spell the end of her reign.