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Elizabeth (1998) and The Golden Age at the Oscars

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  • Stardust
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    #150533

    Thoughts on the great 98′ film Elizabeth and its lesser but still riveting sequel The Golden Age. 
    Noms/wins at the Oscars? 

    https://www.youtube.com/watch?v=3LpAAAKUqB0

     

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    Stardust
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    #150535

    98’s Elizabeth was an incredible surprise for me, on all levels. I wasn’t expecting to like it at all. I loved it. I think it’s brilliant, and holds up very well (recently revisited). I don’t bother with historical innacuracies. Great filmmaking, great acting, divine use of music. 

    All it’s nominations were deserved. A BA win too would’ve been deserved.

    As for The Golden Age (innacuracies aside) – I haven’t revisited this one, but to my mind the film’s main weakness was Shekhar’s overt ambition which succumbed to overall hollowness, lacking that spark/freshness & intrigue of the first, something the actors, namely Rush, Owen, Cornish, and Blanchett, compensated for. The performances were great. I nominate Rush along with Blanchett (who’s great and largely subtle work here, and the inherent challenge of tackling Elizabeth a decade later (in a historical context as well) is often ignored/dismissed as “easily done in sleep”). As well as the costumes (win-worthy).

     

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    Madson Melo
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    #150536

    Alexandra Byrne’s win is the most amazing that this category has had in the 2000’s

    Both movies are ridiculous, but Blanchett is nearly perfection in the first one, she should’ve won over Paltrow, as she was the only real competition. The second performance is something that even her was unable to save, it’s extremely superficial, borderline atrocious.

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    Stardust
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    #150537

    The costumes were scrumptious (in both films). Very deserved win.

    CB or Montenegro should’ve won, really. 

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    Halo_Insider
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    #150538

    I found the first Elizabeth movie to be surprisingly accessible for a period piece costume drama. Blanchett’s performance was incredible, filled with conviction and sensitivity when needed. Haven’t seen Fernanda Montenegro, but Cate would’ve made for one fantastic winner (I actually like Paltrow’s performance, but don’t find it to quite be worthy of an Oscar, and it’s probably the decade’s weakest win in the category).

    Geoffrey Rush was also sublime. He doesn’t quite make my Top 5 for either it or SiL, but I’m glad that he won a BAFTA, as it at least shows how much less the British Academy felt like predicting the Oscars back then.

    Haven’t seen The Golden Age.  

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    Stardust
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    #150539

    (sorry for triple post) Kahpur’s always had his mind on continuing his vision of Elizabeth’s realm, with a trilogy in sight. It’s been long speculated that a third one (rumoured to be titled The Dark Age, alothough that wouldn’t seem to make sense) has been in the works, and he’s been trying (as he did over the decade between the first and second) to get Blanchett on board since.

    I’d personaly like to see a third, if it’s the last; one that presents England’s flourishing artistic culture during the latter part of her kingdom.

    I forgot Rush won a Bafta. Well-deserved.  

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    babypook
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    #150540

    Well, these kinds of films are right up my favorite alley. Both of these films I found enjoyable, especially the first. The inaccuracies bugged me somewhat however, even though I could be used to this by now.

    Now isnt a bad time to say one thing about the first, and that’s that Elizabeth (SPOILER ALERT) knew all along that Robert Dudley was married. She was very likely at his wedding. I suppose it’s not a bad plot device, but really.

    And in the second one, hey, does Cate really pass as someone in her mid-fifties, whose skin was so plastered with lead, mercury, and other niceties but have a complexion like alabaster? But I digress. And where the heck is he (Dudley) anyways in the second?

    I’m fine with the prospect of a third and final installment, but, if Kapur reads even one history book, it isnt going to be pretty.

    Let’s see….who would be a great-looking, ambitious, vain, tall, brunette twenty-something that can lose his head….?

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    Stardust
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    #150541

    “And where the heck is (Dudley) anyways in the second?”

    I asked myself that. Was Fiennes not available? or was the character simply not conducive to Kahpur’s parituclar fantasy this time around? 
    I’m not sure she’s supposed to be portraying Elizabeth in her mid-50s, as she’s, supposedly, recently entered (the pitfalls of) “middle age” territory.
    It’s fair to say that some events presented in the film are not necessarily in right historical order.. or entirely correct lol.
    She’d be around that age in the third I suppose.

    “She was very likely at his wedding”
    waiting for the bride to die? 

    Apparently, CB and Kapur fought over the innacuracies lol https://www.youtube.com/watch?v=od00DaR3Hdo 2:12>

    I do appreciate that Kapur takes risks, and his irreverent spirit in embarking upon this massive period. But i hope he scales down and reinvigorates for the third if one does come to fruition. I don’t want a Spielberg epic.

     

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    Eddy Q
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    #150542

    I find Elizabeth gets better as it goes along, struggling to find the right tone for the first half hour or so – it lurches awkwardly between portentousness and silliness, and Kathy Burke’s Queen Mary is truly bizarre. It finds its footing later, and the last 20 mins are sublime. Historical inaccuracies don’t bother me in the slightest. Cate Blanchett is completely convincing in her development from a young passionate princess to a regal and authoritative queen. She, Montenegro and Watson were more deserving than Paltrow, who was fine nevertheless. It’s unfair that Geoffrey Rush was Oscar-nominated for Shakespeare in Love over Elizabeth, though he won a well-deserved BAFTA for the latter as others have pointed out.

    Haven’t seen The Golden Age.

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    babypook
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    #150543

    ”And where the heck is (Dudley) anyways in the second?”

    I asked myself that. Was Fiennes not available? or was the character simply not conducive to Kahpur’s parituclar fantasy this time around? 
    I’m not sure she’s supposed to be portraying Elizabeth in her mid-50s, as she’s, supposedly, recently entered (the pitfalls of) “middle age” territory.
    It’s fair to say that some events presented in the film are not necessarily in right historical order.. or entirely correct lol.
    She’d be around that age in the third I suppose.

    “She was very likely at his wedding”
    waiting for the bride to die? 

    Apparently, CB and Kapur fought over the innacuracies lol [url]https://www.youtube.com/watch?v=od00DaR3Hdo[/url] 2:12>

    I do appreciate that Kapur takes risks, and his irreverent spirit in embarking upon this massive period. But i hope he scales down and reinvigorates for the third if one does come to fruition. I don’t want a Spielberg epic.


     

    You’ve got that right. The sequence with the Duke of Anjou, for example, and his age, are a device by Kapur. As for his wife dying, LOL! That, is a study unto itself. But films are first and foremost supposed to be entertaining. Accuracy, is secondary.

    The Spanish Armada and their assault, is/was, the Spanish Armada. I dont have a problem seeing Elizabeth decades younger in a film when this actually, you  know, happened. I recall an interview I watched with Blanchett where she said that her performance in this was mostly instinctually motivated. In her case, that’s a good thing.

    I have some reservations about a third one from this director, but none concerning Blanchett. I’m sure she’ll be great as a balding, pock-marked, vain, violent, slaver. Lol.

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    KT
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    #150544

    Did anyone else find it a little distracting that Fiennes and Rush overlapped with Elizabeth and Shakespeare in Love?  Seemed like an odd coincidence.  Elizabeth tries to be Godfather-esque at the end with the ending mirroring the baptism murders….tonally it’s kind of all over the place, going from eerie to light/comedic with the French duke to dark.

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    babypook
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    #150545

    Did anyone else find it a little distracting that Fiennes and Rush overlapped with Elizabeth and Shakespeare in Love?  Seemed like an odd coincidence.  Elizabeth tries to be Godfather-esque at the end with the ending mirroring the baptism murders….tonally it’s kind of all over the place, going from eerie to light/comedic with the French duke to dark.

    No not really. I enjoyed that actually. Mostly I’m so glad Kapur gave us Cate Blanchett and to a wider audience. I’m not so sure that casting of Fiennes was coincidental. She’s worked with his (infinitely more talented) brother Ralph and roughly in the same year. As for Geoff, he is afterall, Australian. Same as Gillian Armstrong and Cate.

    I like your Godfather comparison. LOL! True. It didnt happen like that anyways.

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    KT
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    #150546

    I like your Godfather comparison. LOL! True. It didnt happen like that anyways.

    Huh?  You mean in real life history?

    I think the structure is very similar to The Godfather at the end.  The murders, leading to a leader triumphant on his/her throne. 

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    babypook
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    #150547

    [quote=”babypook”]I like your Godfather comparison. LOL! True. It didnt happen like that anyways.

    Huh?  You mean in real life history?

    I think the structure is very similar to The Godfather at the end.  The murders, leading to a leader triumphant on his/her throne. [/quote]

    I meant, in history. I agree with your analogy. Hilarious really.

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    Stardust
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    #150548

    I personally didn’t find a tone problem. I found it rather striking that the film started on such a note & event actually, and I find the ending compliments it well. Given that Elizabeth’s youth & ascension to throne & “virginity” is characterized by an array and confluence of events, actions, internal/external struggles, (e.g. budding romance, lavish parties, dissonace, reign uncertainty, threats, suitors, etc), I’m not sure why or how the film should’ve stuck to one tone/theme throughout in telling of this particular story (it just doesn’t lend itself to monochrome). The French duke scenes were refreshing and gave breathing room, while keeping the narrative going. Nothing was superflous in the film’s context. Thankfully it wasn’t the regular, dreary ‘BBC version’. It was both edgy/quirky and accessible, and I thought everything flowed very well, and culminated gloriously.

    Speaking of, one moment to appreciate the divine music of the film, namely the ‘love theme’ and the use of Mozart’s Requiem in the final sequence:
    https://www.youtube.com/watch?v=WG-ym8yw0KA
    https://www.youtube.com/watch?v=fLbWLGsRiQc

     

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