Film historically off, still pleases

Historians may question the historical inaccuracies of “Elizabeth: The Golden Age,” but those who value entertainment more will get their money’s worth.

The plot revolves around the events that ushered England into the era of peace and prosperity under Queen Elizabeth I. Taken from the pages of encyclopedias, the Protestant queen is headed towards an ominous holy war with King Philip II of Spain, who at the time possessed the largest and most feared naval fleet in the world. In his words, Elizabeth is a “godless, childless bastard” and an enemy of God. Director Shekhar Kapur draws big lines in the sand, making it very clear who should be rooted for and who shouldn’t. Even King Phillip’s walk and cackle is that of an evil villain.

There is very little left to the imagination as most of the symbolism is easily distinguished — a main criticism of the film. The characters’ motives, for example are not secretive at all. If characters are sulking around a dimly-lit castle in a black gown, like Elizabeth’s envious cousin Mary Stuart, then they are surely out to topple the throne. If they are having a quaint dinner with friends and family, like returning cast member Geoffrey Rush as the Queen’s trusted adviser Sir Francis Walsingham, then they must be loyal to a fault.

Not to mention there is political unrest, ethical issues, assassination plots and the beautiful, perfectly-cast Cate Blanchett, fiercely screaming at Spaniard messengers, “I have a hurricane in me that will strip Spain bare if you dare to try me!” All of these factors lead up to the day of the epic fight, complete with an overwhelming symphony and loads of divine symbolism.

“Elizabeth: The Golden Age” earns back its seriousness with Blanchett. She shines in a full body of armor as she gives a moving pep talk to her terrified and outnumbered men in a powerful scene.

Love is a different matter, though. Right and wrong blurs among the characters when the queen becomes smitten with explorer Sir Walter Raleigh (Clive Owen). Whether he’s flirting or fighting with the queen, Owen is the model for sexual chemistry. He puts on a stellar performance as he brings out Raleigh’s colorful personality, as well as becoming the source of the queen’s vulnerability.

This film goes further into the land of soap opera with the texture of its dialogue and the glamorous nature of its appearance. “The Golden Age” will, without a doubt, be a contender for Best Costume Design at the Oscars. The queen practically has a dress for her every mood swing. The ruffles, the lace, the feathers, the make-up, the curls and the jewelry are visually hypnotizing. Again, the symbolism comes in the form of colors: white when Elizabeth is portrayed as the Madonna, gold as she prays in a church and a rich shade of purple when she sits upon the throne.

“Elizabeth: The Golden Age” is definitely golden. The cinematography and the production is top-notch, and there are many memorable lines and scenes. But it tries too hard to get it’s point across and at times and leaves too little to the imagination. Fortunately, it is the actors and the undeniable presence and talent of the lead female that doesn’t let “The Golden Age” fall victim to its exceeding amounts of melodrama.