It’s 1585 and Elizabeth Tudor (Blanchett) is well into her third decade as Queen of England slightly older but just as exquisite—and just as wary of the enemies at her gate. Led by Spain’s Philip II (Jordi Molla) a fundamentalist Catholic movement is sweeping 16th century Europe and they view Elizabeth as a Protestant heretic. Philip and his supporters have rallied round Elizabeth’s exiled Catholic cousin Mary Stuart Queen of Scots (Samantha Morton) waiting for their chance to usurp the Virgin Queen’s throne and restore Catholicism in England. The queen’s trusted advisor Sir Francis Walsingham (Geoffrey Rush) keeps the wolves at bay but Elizabeth is in constant danger. She finds some comfort in the company of her favorite lady-in-waiting Bess (Abbie Cornish) as well as the dashing explorer Sir Walter Raleigh (Clive Owen) whom Elizabeth sees not only as an intellectual and spirited equal but also as a way to glimpse into the unexplored globe’s infinite freedom—something the Queen can never have. But when an assassination plot goes awry Elizabeth shifts her energies back to her country setting off a chain of events that will change the course of history. Just like the Queen Elizabeth herself Blanchett is also slightly older but wiser and even more poised and beautiful than she was playing the Virgin Queen the first time in the 1998 Elizabeth. That film helped put the actress on the map and gave her her first Oscar nomination—and a second nomination for playing the same character shouldn’t be far behind. Blanchett gives this enigmatic queen such flawed humanity. She’s all at once regal sarcastic knowing jealous and loving—and above all a true queen to her people. Although The Golden Age is clearly Blanchett’s movie the supporting cast is also superb especially Rush whose aging Walshingham isn’t nearly as aggressive as he was in Elizabeth but still formidable and Owen as the charismatic Raleigh who clicks in more ways than one with Blanchett. By God Queen Elizabeth needed a real man and if Raleigh had had any royal lineage she may have married him. Instead she has to pawn him off on Bess--played sweetly but blandly by Cornish (A Good Year)--and live vicariously through them until their union gets the better of her and she banishes them. Elizabeth is a woman after all. Morton too does an admirable job as the doomed Queen Mary heaving breasts and stoic resolve to her ultimate demise. As with his original Oscar-winning Elizabeth director Shekhar Kapur clearly loves the splendor and pageantry of the 16th century royal court and serves up another visual treat with The Golden Age. The costumes are once again spectacular as are the sets. The battle between the British navy and the Spanish Armada is particularly stunning especially as a victorious Elizabeth stands on a high bluff wind blowing looking into the horizon at a sea of burning Spanish ships. Highly effective. Kapur isn’t very subtle in his depiction of the bad guys either. King Philip is almost Golum-like walking in a weird way mumbling and constantly rubbing his rosary beads. At any moment you expect him to hiss “My precioussssssss.” Creepy. But where Kapur’s Golden Age fails is in its pacing. While the first Elizabeth was intriguing in the making of a queen Golden Age plods through Elizabeth’s anxieties and insecurities even if Cate Blanchett is riveting in almost every frame. Things only really get going when Elizabeth forgets about being a lonely woman and gets her head in the war game. There’s also the fact that the masses may have had their fill of historical movies about this time period—from HBO’s excellent Elizabeth I (which is in essence the same story) to even Showtime’s The Tudors. Chalk this Golden Age up to bad timing.
All Daphne Reynolds (Amanda Bynes) has ever really wanted is to meet the dad she's never known. Growing up in New York with her loving and free-spirited musician mother Libby (Kelly Preston) she makes her mom tell the story of her parents' whirlwind romance over and over. How much in love they were but how unbeknownst to him his aristocratic family drove Libby away. Now at 17 Daphne is determined to live the fantasy of the father-daughter relationship she craves. Arriving in London she finds out pop is Lord Henry Dashwood (Colin Firth) a high-profile politician who is about to marry the snooty Glynnis (Anna Chancellor). Needless to say Henry is dumbfounded to discover he has a daughter and together with his regretful mother Lady Jocelyn (Eileen Atkins) they open Dashwood manor to the spirited girl. As Daphne and Henry tentatively test their newfound relationship the teen has a hard time fitting in with stuffy British high society and soon begins to jeopardize her father's political career. She tries to suppress her bubbly personality and turn herself into a respectable debutante but Daphne soon realizes she's giving up too much of herself to be Henry's daughter. The question is will Henry realize it is he who is not made for the suffocating life he's been shoved into and reclaim his daughter and the only woman he has ever loved? Oh stop the suspense is killing us.
The 17-year-old Bynes is already a brand name in comedy--at least to the 'tween set who from the time Bynes was 10 years old have enjoyed her slapstick antics on Nickelodeon's variety show All That her own variety show The Amanda Show and her current WB sitcom What I Like About You. Bynes is all grown up now and as the cute sexy--and klutzy--Daphne she excels at performing pratfalls and infuses as much charm as she can into the character. It is clear however the young comedian has some work to do before becoming a good actress. Thank goodness she is surrounded by talented actors such as Atkins (Gosford Park) and even Preston who does a nice job as the bohemian Libby. Yet it's Firth (Bridget Jones's Diary) who truly elevates the film when on-screen and helps Bynes reach those dramatic highpoints. He has the uncanny ability to turn even the most insipid of parts into something worth watching. His best moment as Henry is when he tries on some old leather pants and dances around in his opulent bedroom pretending to be a rock star. It's very un-British of him--and it's brilliant.
To put it mildly What a Girl Wants really looks bad. TV director Dennie Gordon obviously hasn't mastered the art of filmmaking in any way because not only are many of the shots blurry and poorly lit often times it seems Bynes is shot through an entirely different softer lens than the other actors. Usually that kind of treatment is given to older actresses who want to hide all the little imperfections but for a 17-year-old cutie? Obviously it's a mistake. As well the sugar-pop theme gets out of hand trying way too hard to appeal to the hip and cool 'tweeners. To a rockin' soundtrack look how Daphne can turn a pretentious coming-out ball into a choreographed dance number! Or see how she can try on different '70s outfits and funky glasses while her father amusedly looks on! (Even Firth looks uncomfortable). Sure 11-14-year-old girls are going to love it especially the sweet love story between Daphne and a local London musician Ian (Oliver James). It's only the heart of the story--the father-daughter relationship--that keeps the film from falling into just another Teen Beat tableau.