Good story, Not enough for a whole film

Good films always raise compelling questions, whether the format is fiction or documentary fact.

Exactly the movie you think it is, but not the movie you want it to be.

Although I seem to have had higher expectations than I thought, the movie is super entertaining.

ELIZABETH R exemplifies the concept of television as 'electronic theatre'; in fact, few attempts are made to present the drama as anything other than theatre. There is some effective exterior filming: Elizabeth's arrival at the Tower of London is among the series' most memorable sections. Such sequences allow a few moments of ventilation in what is a rather claustrophobic viewing experience. Although the sets and the exquisite costumes are eye-catching, attention is focused on the actors and the scripts.John Hale's THE LION'S CUB is not as coherent as the other episodes, covering a longer period, and featuring many characters. Such problems aside, it is one of the best episodes. It would be impossible to comprehend Elizabeth's subsequent actions without knowing something of her highly traumatic youth; yet many dramatisations of her life eschew this pivotal and richly dramatic time. This episode provides harrowing drama, and it is perhaps the most adept at enabling the viewer to identify with Elizabeth on a human level. The development of her shrewd political skill, as well as her personal fear of intimacy and its potential dangers, is especially well realised.The next two episodes centre on what little romance was present in the life of the 'Virgin Queen'. Rosemary Anne Sisson's THE MARRIAGE GAME, perhaps the best episode, highlights the tension between Elizabeth's coquettish nature and her determination to remain chaste. Her contrary conduct resulted in degrading gossip abroad, and terrible anxiety at home. This episode and Julian Mitchell's THE SHADOW IN THE SUN admirably capture this pervasive uncertainty; the latter provides a subtle exploration of Elizabeth's psychological motivations for not marrying, showing how impossible she found it to trust anyone with the secrets of her heart. It is, though, the least historically accurate episode.Hugh Whitemore's HORRIBLE CONSPIRACIES showcases Elizabeth's chronic indecisiveness, but still makes the maligned Mary Stuart its villain. The viewer is unlikely to be affected by her grisly fate; aside from being surprised at its graphic depiction. Another drawback is the absence of some of the vital players in the drama – Burghley, Leicester, et alia – who form such a convincing 'court' around Elizabeth in the preceding episodes. The final scene is unpleasant and overwritten, but it is mostly a tightly-plotted instalment.John Prebble's THE ENTERPRISE OF ENGLAND boasts the best script, featuring plenty of quotable dialogue. It is, essentially, a fine satire, showing the almost farcical events of the Armada. However, it lacks a central protagonist, and some of its characters do not come across as particularly human, but as historical figures. There are two delightful exceptions – Francis Drake and John Tregannon – and the Elizabeth/Leicester scenes, as well as the finale, are excellent. They provide the humanity which is otherwise lacking in this entertaining and witty history lesson.Ian Rodger's SWEET ENGLAND'S PRIDE, the weakest episode, is a somewhat disappointing rendition of the fascinating power struggle between Elizabeth and the Earl of Essex; giving undue attention to Essex's time in Ireland, it virtually ignores the relationship between the ageing Gloriana and the youthful earl. Essex's uprising, capture, and trial are all perfect fodder for a gripping drama, yet they are omitted from this production, except for passing references. However, this episode succeeds in conveying the poignancy of outliving one's own generation, something which coloured Elizabeth's later years. Her final speech and last hours are memorably recreated.Towering above all other achievements of this production is the marvellous central performance of Glenda Jackson. Jackson takes the viewer on an extraordinary journey. She is equally remarkable whether she is depicting regal dignity, mortal terror, light-hearted flirtation, wily out-manoeuvring, or world-weary old age. Above all, she is convincing as a monarch. Only an Elizabeth with the indomitable nature and imposing presence of Jackson's creation could have commanded the respect of her male subjects. She also has moments of sublime delicacy: her nearly silent demeanour, whilst hearing the details of Mary Stuart's demise, is a masterly portrayal of deeply felt horror, grief, and guilt.Such is the force of the series' central performance that the viewer could be forgiven for forgetting the supporting actors. With the exception of Vivian Pickles' turn as Mary Stuart – which allows her none of the exceptional charm for which she was famed – all the actors acquit themselves commendably. Robert Hardy, Ronald Hines, Stephen Murray, and John Shrapnel present strong support; and there are several memorable actors in smaller roles, such as Hamilton Dyce, John Woodvine, Michael Culver, and Bernard Hepton. However, there is only one cast member who achieves the Herculean feat of matching Jackson's power: Daphne Slater as Mary Tudor. This very fine actress delivers an outstanding performance; her scenes with Jackson provide the only moments when the latter does not entirely command the viewer's attention. Queen Mary I is so often denigrated, misunderstood, or simply dismissed as a fanatical, vindictive murderess. One of ELIZABETH R's triumphs is its considered, unbiased, and measured portrayal of this truly tragic queen.Jackson's contribution adds to the theatrical quality of the production, but this description is no criticism: this aspect of her performance elevates the series, giving it a combined intimacy and sense of inspiration which is usually found only in the theatre. Far from the epic, visual delights that can be found in a film, ELIZABETH R offers something no less compelling: a piece of acting so transcendent that it almost obliterates the production's shortcomings, and ensures that the experience of watching this series will not be easily forgotten.

I'm not rating it so low because it was bad; I just can't remember all the details. "Elizabeth R" was one of the first miniseries on WGBH-TV's "Masterpiece Theatre" in 1971 (the other was, if I remember right, "The Six Wives of Henry VIII"--appropriate that, really). I was 10 years old, watching on an incredibly small black-and-white portable TV, but I knew what I wanted--those costumes. I wanted those incredibly lush, ornamented, heavy, hot, corseted gowns that Elizabeth wore as queen. Since then, I have always been attracted to 'period' films, historical re-enactments, and Shakespeare (but that's a whole 'nother topic).The costume designer on "Elizabeth R" was Janet Arnold, one of the first well-known clothing historians and researchers. Her research and publications changed the way historical costumes have been treated in movies since then. If you have any question about the truth of my statement, rent "Shakespeare in Love" and pay attention to the garb. It holds for fantasy movies as well--Peter Jackson knew very well that "The Lord of the Rings" would succeed or fail based on how real he could make Middle-Earth.About Elizabeth I: There are many movies about her, and many great actresses have played her--from Bette Davis, to Glenda Jackson (here), to Dame Judi Dench (SiL), to Helen Mirren, in 2006's Showtime entry, "Elizabeth." Depending on the era in which the movie was made, some events are highlighted, others downplayed. Just watching any of these films is a treat.I don't know if there are added features about the costumes in the DVD package of "Elizabeth R;" it's on my short list of films to get. I hope it holds up to scrutiny after all these years; it made a lasting impression on me when I first saw it.

This is a great historical account of one of the most incredible women in history. A descendant of incredible lineage (all cousins to be exact) the daughter of the most ambitious Anne Boleyn, was in fact Henry VIII's best prodigy as a true and fair leader of England and its people. Henry could have wanted no more of her (nor seen better from a son) had he been able to witness Elizabeth's ability as Queen.Glenda Jackson is able to give us a view of Elizabeth as if it were Elizabeth herself we were watching; at least Elizabeth as we believe she would have been. True to the word of some of the critics within, no one really knows for certain what Elizabeth may have sounded like or for that matter the tenor in which spoke. But that matters little in this most true account of the Life of Elizabeth R. One takes what is portrayed by Glenda Jackson and the rest of the cast as the most likely of truths. After watching the full series, you will feel as though you were in court with Her Majesty, Elizabeth I.If you haven't seen this you should.I loved this series growing up and after so many years of wanting to see it again, I have purchased my own copy of the series on DVD through Amazon.com.Enjoy!

Don't be put of by the typical BBC production values, this mini-series is astounding in its scope.If you don't know much about Queen Elizabeth before watching this series, spend an hour reading brief sketches on her father Henry VIII and mother Ann Boleyn. Also, be sure to read about Elizabeth's younger brother Edward and older sister Mary, both of whom who preceeded her as England's King and Queen, respectively.You may have to look hard for a copy of the series, or ask your library to find it for you, but it will a wonderful 9 hours of viewing.