2021 Blind Spot Series: The Great Escape

 

Based on the non-fiction novel by Paul Brickhill, The Great Escape is the story of a legendary prison break during World War II at a Nazi prison camp where a group of different soldiers concoct a break at a high-security prison. Directed by John Sturges and screenplay by W.R. Burnett and James Clavell, the film a dramatic version of the real life prison break at Stalag Luft III where a small number of men do whatever they can to break out of this hellish prison camp. Starring Steve McQueen, James Garner, Richard Attenborough, James Coburn, Charles Bronson, James Donald, Donald Pleasence, and Hannes Messemer. The Great Escape is a riveting and adventurous film from John Sturges.

It is late 1942 as a large number of POWs are sent to the high security Stalag Luft III prison camp as a number of them lead by a mixture of British, America, Polish, and Australian soldiers/officers where that small number concoct an elaborate prison break. It’s a film with a simple premise yet it is more about a group of men trying to understand their environment and how to get out of the prison as well as get out of Germany. The film’s screenplay follows a simple narrative structure as it’s more about the people at the camp and how they meticulously try to get out as well as figure out what is outside of the camp. Notably as they try to do everything secretly under the watchful eye of the prison camp’s commandant Oberst von Luger (Hannes Messemer) who is trying to ensure that nothing goes wrong and the prisoners are treated humanely. Still, he has to deal with the British officer Roger Bartlett aka Big X (Richard Attenborough) who harbors a lot of disdain for the Nazis following his time with the Gestapo as he’s someone who knows about prison breaks as he confides in his superior Captain Ramsey (James Donald) about the plan who chooses to mediate between the prisoners and Kommadant von Luger.

Two of the American prisoners in Flight Lieutenant Bob Hendley aka the Scrounger (James Garner) and Captain Virgil Hilts aka the Cooler King (Steve McQueen) try to concoct their own plans yet they would eventually work with the other prisoners as the latter often breaks out only to come back and put in the isolation confinement. The former doesn’t just try to charm a guard in Werner (Robert Graf) but also befriends Flight Lieutenant Colin Blythe aka the Forger (Donald Pleasance) as the latter starts to go blind making Hendley protective of him. Also part of the team include the Polish digger/tunnel maker Danny Welinski aka the Tunnel King (Charles Bronson), his friend Willie Dickes (John Leyton), and the Australian Sedgwick aka the Manufacturer (James Coburn) as they all meticulously plan to build a tunnel system while also trying to find ways to keep it a secret. There are also these situations that Hilts had observed during his own brief escapes as it also concerns locations, blind spots, and other areas that the prisoners have to deal with.

John Sturges’ direction is definitely engaging for the way he creates the atmosphere of the film but also finds an air of hope during a moment of repression and frustration. Shot on location in areas near and around Munich including the Bavarian region in then-West Germany, the film uses the prison location as a character as it is surrounded by forest where there’s Nazis patrolling in areas outside of the prison as it would add to the suspense during its third act. Much of the film’s first and second takes place in the prison camp where it is about the location and where a few blind spots are and where the coolers are placed for the prisoners who overstep their bounds and are sent to the isolation centers. While Sturges uses some wide shots to get a scope of the locations as well as these unique dolly-tracking shots to get a look into the length of the tunnels. Sturges also maintains that air of claustrophobia in the medium shots and close-ups for some of the tunnels as it plays into the struggles that Welinski endures as it pertains into his own secret despite being a great creator of tunnels.

Sturges also plays up the air of suspense as it relates to these prisoners dealing with the idea that they might be caught as it includes a moment where all of the prisoners are having a drink of moonshine some of the prisoners created where one of the planned tunnels is discovered. It would add to the drama as the scene where a small number of prisoners make their escape through the tunnels is an intense moment filled with dread and uncertainty. Yet, it’s outside of the camps that are much more dangerous where no one has to make a noise or be caught by a light. It is a gripping sequence in the film that is followed more by a chilling aftermath once some of these men are out of the camp as they have to watch where they’re going and such. Getting out of the prison is easy in comparison to getting out of Nazi Germany as there are some thrilling and exciting moments including a scene of Hilts escaping on a motorcycle. While its conclusion might seem bleak, there is something hopeful about it considering the work that these men did to break out of prison as it gave them a sense of urgency and a need to be alive as it adds to the human spirit. Overall, Sturges crafts an evocative and exhilarating film about the real-life POW camp escape and the details of the men who planned the escape.

Cinematographer Daniel L. Fapp does brilliant work with the film’s cinematography with its emphasis on dream-like natural lighting for some of the daytime scenes set in the morning as well as its approach to lights for some of the scenes at night including the scenes in the tunnels. Editor Ferris Webster does excellent work with the editing as much of the cutting is straightforward to play into the action and suspense as well as to play into some of the dramatic moments in the film. Art director Fernando Carrere and set decorator Kurt Ripberger do amazing work with the look of the prison camp as well as some of the houses and the cooler as it is play into the claustrophobia and the way the tunnels were designed. The special effects work of A. Paul Pollard does terrific work with some of the action including some of the motorcycle chase for the film’s climax. Sound effects editor Wayne Fury does nice work with the sound in the way gunfire sound as well as some sparse sounds in the tunnel scenes. The film's music by Elmer Bernstein is incredible with some thrilling themes as well as a memorable marching theme as it adds to some of the humor and workmanship of the tunnels as it is a major highlight of the film.

The film’s marvelous ensemble cast as it feature some notable small roles from Ulrich Beiger and Hans Reiser as a couple of Gestapo officials who have it in for Bartlett, Jud Taylor as an American soldier who often keeps Hilts’ baseball glove for safekeeping, Robert Graf as a naïve German soldier in Werner whom Hendley likes to bullshit with but also make him feel important, Nigel Stock as a British officer in Cavendish who is nicknamed the Surveyor for making sure everything is kept secret from the Germans, Angus Lennie as the Scottish soldier Ives who often joins Hilts at the cooler with a desire to get out, David McCallum as a British officer who creates an ingenious way to get rid of dirt, John Leyton as Welinski’s friend Willie Dickes who helps Welinski in digging the tunnels and to help him with Welinski’s issues, and Gordon Jackson as Bartlett’s second-in-command Andy MacDonald who helps plan the escape and ensure that things go right.

Hannes Messemer is superb as Kommadant Oberst von Luger as the camp’s commandant who oversees everything and tries to make sure the prisoners are well-treated as he does give a sympathetic performance of a man just doing his job but also knows he doesn’t want to do anything extreme. James McDonald is fantastic as the British officer Captain Ramsey as the leader of the prisoners who tries to ensure that everyone does their duty and keep everything a secret while having to do some diplomacy with Kommadant von Luger. Donald Pleasance is excellent as the master forger Colin Blythe who strikes a friendship with Hendley as he deals with a growing blindness that makes his a liability as he also does what he can to help everyone out despite his blindness. James Coburn is brilliant as the Australian officer Sedgwick who helps construct some of the wood for the tunnels including the small trains as well as watch out for guards. Charles Bronson is amazing as the Polish officer Danny Welinski as a man who is an expert in creating tunnels yet is dealing with his own issues as he starts to deal with his illness that almost makes him a liability.

Richard Attenborough is incredible as RAF officer Roger Bartlett as a British officer who has already caused trouble with the Gestapo as he leads the charge to plan an escape as he also tries to boost up morale despite some of the darker moments that occur in the film. James Garner is phenomenal as the American RAF officer Bob Hendley who does what he can to get things as he also bullshits his way to get them but also a man who possesses a great sense of warmth to others including Blythe whom he vouches for and helps him escape as it’s one of Garner’s finest roles. Finally, there’s Steve McQueen in a tremendous performance as the American officer Captain Virgil Hilts as a man who likes to push buttons while being someone who can help everyone else as he is also willing to put himself in isolation just for the team as he’s also one of the toughest guys who is willing to do what it takes to outsmart the Nazis even if it means getting caught.

The Great Escape is a magnificent film from John Sturges. Featuring a tremendous ensemble cast, dazzling visuals, Elmer Bernstein’s sumptuous music score, gripping suspense, and a story of determination and wit. It is a film that can be served as a prison break film that everything else has to follow while it is also a testament to the human spirit in war whether it’s those digging the tunnels or those who try to create some kind of peace in the darkest of times. In the end, The Great Escape is an outstanding film from John Sturges.

Related: The Magnificent Seven

© thevoid99 2021

In Which We Serve

Directed by Noel Coward and David Lean and written, starring, and music score by Coward, In Which We Serve is the story of Royal Naval sailors fighting in World War II as deal with their role in the war as they fight the Germans. The film is a dramatization of the exploits of Captain Lord Louis Mountbatten who would fight the Germans during a campaign in Crete in which his destroyer had sank during the campaign. Also starring John Mills, Bernard Miles, Celia Johnson, and Richard Attenborough. In Which We Serve is a riveting and evocative film from Noel Coward and David Lean.

The film follows the life of naval crew whose destroyer is being attacked by German air forces as they think about their lives at home as well as their lives working on this ship they love. It’s a film that explores men who are dealing with survival as they also reflect on their lives at home as much of it takes place on a lifeboat where a captain and other survivors think about home and the events that lead to the situation they’re in. Noel Coward’s screenplay takes a back-and-forth narrative of Captain E.V. Kinross (Noel Coward) and his crew trying to survive as well as looking back into their own lives at home as well as their life on the destroyer known as the HMS Torrin. Much of the film is told through flashbacks of not just the life that Captain Kinross has but also some of his officers and crew members including sailors who had families to go home to. Notably Chief Petty Officer Hardy (Bernard Miles) and Seaman Blake (John Mills) who would both endure changes into their own lives at home.

Coward’s direction mainly focuses on a lot of the film’s dramatic moments as well as many scenes not set during the conflict as he aims for something simpler in the compositions with a few stylish touches. Shot largely at the Denham Studios in Denham with a few exteriors shot in nearby locations, much of Coward’s direction would have a few wide shots of the locations but mainly focuses on close-ups and medium shots to play into the drama. Notably the lives of Captain Kinross, Hardy, and Blake as well as a few others including their respective spouses/lovers where Coward’s direction has elements of theatricality in its framing and long takes but does manage to establish what is going on and who these characters are.

Much of the film’s action scenes are helmed by David Lean who would use a lot of wide shots and some stock footage to play into the battle as a way to showcase the intensity of these battles. Even in the scenes on the lifeboat where the survivors have to evade the firepower from enemy planes with the wounded on the boats. Coward and Lean would still provide moments that play into what is at stake as well as the need to survive and watch their beloved ship in its final moments. Overall, Coward and Lean create a gripping and compelling film about the life of a British destroyer’s captain and his crew as they try to survive against the Germans.

Cinematographer Ronald Neame does brilliant work with the film’s black-and-white cinematography as it play into the beauty of some of the locations outside of the studio the scenes in the sea with its usage of lights for the scenes in the day and night along with its interiors. Editor Thelma Myers, with additional work from David Lean, does excellent work with the editing in its usage of stylish transitional dissolves as well as some rhythmic cuts for some of the film’s action scenes. Art director David Rawnsley does amazing work with the look of the interiors of the destroyer as well as the shipyard and the homes of some of the characters.

The special effects work of Douglas Woolsey is fantastic for the usage of miniatures in some of the action scenes whenever the ships are destroyed as well as a few visual tricks in some of the transitions. Sound recordist C.C. Stevens does terrific work with the sound in capturing the sound of bombs during the blitz sequence as well as the sound of gunfire in some of the action scenes. The film’s music by David Lean, with contributions from Clifton Parker, is wonderful for its usage of orchestral string arrangements with elements of percussion bombast and military cadences to play into the drama and action throughout the film.

The casting by Irene Howard is marvelous as it feature some notable small roles from Daniel Massey and Ann Stephens as Captain Kinross’ children, George Carney and Kathleen Harrison as Blake's parents, Richard Attenborough as a young seaman who enters an empty bar following the Dunkirk evacuation, and Michael Wilding as a sailor named Flags. Kay Walsh is fantastic as Blake’s girlfriend/future wife Freda as a woman he meets on a train as they become a couple as she worries about what will happen to him. Joyce Carey is wonderful as Hardy’s wife Kath as a woman that knows what her husband is dealing with as she befriends Freda and helps her deal with being a sailor’s wife. Celia Johnson is brilliant as Alix Kinross as Captain Kinross’ wife who deals with the same issues as the other spouses as she is this picture of grace as someone who is trying keep her family together and know what to expect if things go wrong.

John Mills is excellent as Seaman Shorty Blake as a sailor who is dealing with a new love as well as the expectations of becoming a father while dealing with his role as a sailor as he does whatever he can to help his fellow sailors and officers. Bernard Miles is amazing as Chief Petty Officer Walter Hardy as an officer who is a second-in-command of sorts for Captain Kinross as well as be someone who is a friend of the sailors including Blake whom he offers advice to about marriage. Finally, there’s Noel Coward in a remarkable performance as Captain E.V. Kinross as the captain of the HMS Torrin who is trying to run things as well as be someone a group of sailors and officers can count on while being a good father and husband to his family as he knows the struggle he has in being away from them.

In Which We Serve is an incredible film from Noel Coward and David Lean. Featuring some dazzling visuals, an inventive screenplay, a great cast, and some amazing action sequences. It’s a war film that maybe a propaganda film for its time but it is still a riveting film that explore how important the need to fight for the good of the world. In the end, In Which We Serve is a marvelous film from Noel Coward and David Lean.

David Lean Films: This Happy Breed – Blithe Spirit - Brief Encounter - Great Expectations (1946 film) – Oliver Twist (1948 film) – The Passionate Friends - Madeleine (1950 film) – The Sound Barrier - Hobson's Choice - Summertime (1955 film) – The Bridge on the River Kwai - Lawrence of Arabia - Doctor Zhivago - Ryan's Daughter - (Lost and Found: The Story of Cook’s Anchor) – A Passage to India - (The Auteurs #74: David Lean)

© thevoid99 2018

A Matter of Life and Death

Written and directed by Michael Powell and Emeric Pressburger, A Matter of Life and Death is the story of an airman who survives death as he falls for an American radio operator while angels are trying to get him to the other side. Set during World War II, the film is an exploration into a man facing and cheating death while trying to continue his life without compromise. Starring David Niven, Kim Hunter, Roger Livesay, Marius Goring, and Raymond Massey. A Matter of Life and Death is an extraordinarily rich film from Michael Powell and Emeric Pressburger.

The film is about a man who had just survived a near-death experience as his bomber plane crashed where he jumped off his plane without a parachute. While he was on his plane, he communicates with an American radio operator where the two fall for each other as they eventually meet and become a couple. For the people in Heaven, they realize the man was supposed to die as they send an angel (Marius Goring) to meet with the man to tell him he’s supposed to be in Heaven. The angel gives the man time while Dr. Frank Reeves (Roger Livesay) examines the man as he would defend him in a trial to see if this man should stay alive or be sent to Heaven. It’s a film about life and death as well as the power of love where the people from above are to see if this man in Peter Carter (David Niven) should stay alive to fall in love with the American woman June (Kim Hunter).

The film’s screenplay explores the world of life and the afterlife where Peter Carter has accidentally cheated death where angels and those in the afterlife question should Peter Carter fulfill what has been expected him in life or should he continue to go on living? Yet, the people in Heaven didn’t expect for Peter and June to fall for each other in a moment like this as they send this French aristocratic angel to talk with Peter about what he should do. Dr. Frank Reeves listens to Peter talking about his meeting with the angels as he believes there is more to something that is beyond anything. Yet, he would play a crucial role into defending Peter in front of the people of the afterlife as he has to face a jury that despise the British led by its American prosecutor Abraham Farlan (Raymond Massey). What would happen in the third act is a trial for the life of a man as Peter would also face a judge and jury to see if he deserves to stay alive.

The direction of Michael Powell and Emeric Pressburger is definitely out of this world in terms of what they presented. Notably as they go for two very different approaches to life on Earth and the afterlife where the former is presented in gorgeous Technicolor and the latter is presented in black-and-white. The direction is often filled with a sense of style from the sense of danger that is presented in the opening moments of the film where Peter is flying his bomber plane as he talks to June. A lot of the scenes set on Earth do have some degree of style in some of its location shots as well as a scene of Dr. Reeves looking out at the town through a magnifying table. Other stylish shots in the film are the conversations between Peter and the angel where everything around them stops while the people who aren’t Peter or the angel stay still.

The scenes set in Heaven are very stylized in the set pieces that is created where there are things the dead have to do once they arrive in Heaven. There is a sense of control that occurs while the trial scene itself is filled with some wide shots to establish the scope of the case in hand. There is also the staircase scenes that is presented in black-and-white but also in color to establish the link between the two worlds. The third act is about the two worlds colliding to set the fate for Peter Carter as where some big decisions occur as well as the idea of life itself. Overall, Powell and Pressburger create a magnificent story about life and the power of love.

Cinematographer Jack Cardiff does exquisite work with the film‘s beautiful photography from the wonderful look of the scenes in Heaven shot in black-and-white with some amazing lighting schemes to the lush Technicolor look of the scenes on Earth from the look of the British countryside to some of the interiors in the film as Cardiff‘s work is a major highlight of the film. Editor Reginald Mills does excellent work with the film‘s editing with the use of abrupt cuts to play out some of the strange things that are happening around Peter to the use of freeze-frames and other stylish cuts to help give the film a brisk pace. Production designer Alfred Junge does amazing work with the set pieces from the look of the staircase to the look of Heaven itself as it is a work of beauty.

Costume designer Hein Heckroth does wonderful work with the costumes to play up some of its coloring in the scenes on Earth while keeping things simple and stylish for the scenes in Heaven. The special effects work by Douglas Woolsey and Henry Harris is terrific for its use of optical effects to create some look of the universe as well as the backgrounds for the staircase scenes. Sound recorder C.C. Stevens does nice work with the sound to create sound effects for the film‘s opening sequence of Peter‘s plane crumbling as well as some intimate moments between characters as well as the scenes where sound isn‘t used. The film’s music by Allan Gray is superb for its lush orchestral score to play out the drama and some of its humor through some sweeping string arrangements and a few bombastic moments in the percussions.

The film’s cast is brilliant as it features some small appearances from Richard Attenborough as an English pilot who arrives to Heaven, Abraham Sofaer as Heaven’s judge and the surgeon performing surgery for Peter, Robert Coote as Peter’s deceased co-pilot Bob Trubshawe, and Kathleen Byron as the head angel who greets the dead to Heaven. Raymond Massey is excellent as Abraham Farlan who believes that Peter should die and be sent to Heaven while Marius Goring is marvelous as the very charming French aristocrat who has become an angel as he tries to get Peter to Heaven while realizing the severity of the situation. Roger Livesay is superb as Dr. Frank Reeves as a man who believes Peter’s stories as he tries to help him in every way while finding himself in a situation of his own where he can play a crucial role in Peter’s trial.

Kim Hunter is remarkable as June as an American woman who falls for Peter through their radio conversation while trying to wonder what is wrong with him as she turns to Dr. Reeves for help. David Niven is fantastic as Peter Carter as a man who had just experienced a near-death experience as well as love as he realizes his fate is in the hands of people beyond him as he tries to comprehend the idea of life itself.

A Matter of Life and Death is an incredible film from Michael Powell and Emeric Pressburger. Armed with a great ensemble cast that includes David Niven, Kim Hunter, Roger Livesay, Raymond Massey, and Marius Goring as well as Jack Cardiff’s rapturous cinematography. It’s a film that explores the idea of life itself as well as how a man can put his own life in the hands of other to see if he should live. It’s also a film about the power of love and how strong it can be for a man’s fate. In the end, A Matter of Life and Death is a tremendous film from Michael Powell and Emeric Pressburger.

Powell/Pressburger Films: The Spy is Black - (The Lion Has Wings) - Contraband - (An Airman’s Letter to His Mother) - 49th Parallel - One of Our Aircraft is Missing - The Life and Death of Colonel Blimp - (The Volunteer) - A Canterbury Tale - I Know Where I‘m Going! - Black Narcissus - The Red Shoes - The Small Black Room - (Gone to Earth) - The Tales of Hoffman - (Oh… Rosalinda!!!) - (The Battle of the River Plate) - Ill Met by Moonlight - Peeping Tom - (They’re a Weird Mob) - (Age of Consent) - (The Boy Who Turned Yellow)

© thevoid99 2013

Elizabeth (1998 film)

Originally Written and Posted at Epinions.com on 7/16/07 w/ Additional Edits & Revisions.

Directed by Shekhar Kapur and written by Michael Hirst, Elizabeth tells the story of Elizabeth's early life before she became Queen until she was accused of making murder attempts towards her half-sister Mary. When Elizabeth becomes Queen, she is surrounded by advisors, suitors, and everyone wanting her until she takes control. The film is an exploration as well as a dramatization of Queen Elizabeth's early life before she would assume the persona of being the Virgin Queen as she is played by Cate Blanchett. Also starring Geoffrey Rush, Joseph Fiennes, Christopher Eccleston, Richard Attenborough, Fanny Ardant, Emily Mortimer, Kelly MacDonald, Eric Cantona, Daniel Craig, Vincent Cassel, and in his final film role, Sir John Gielgud. Elizabeth is a powerful, mesmerizing bio-pic.

With England in a state of chaos over religious arguments between Catholics and Protestants, Queen Mary (Kathy Burke) falls ill while giving birth to a child that unfortunately dies as her husband also dies.  With Mary's half-sister Elizabeth set to replace her, Norfolk (Christopher Eccleston) is keen to arrest Elizabeth in his belief that she's part of the Protestant revolt whom she has no part of as she lives a quaint life with her love her Robert Dudley (Joseph Fiennes) and two ladies-in-waiting in Kat (Emily Mortimer) and Isabel (Kelly MacDonald).  After taken to prison with her ladies-in-waiting, Elizabeth is eventually freed when she is summoned to meet her dying sister where Elizabeth is to become the new Queen of England.  With Sir William Cecil (Richard Attenborough) aiding Elizabeth in the deal once Queen Mary dies in 1558, Elizabeth takes the throne as she gets the exiled Francis Walsingham as her advisor.

Still, the state of England is in chaos as they're facing the threat of the Scotland, that is run by Mary of Guise (Fanny Ardant) from France while many try to have the Queen get married to a king for political reasons as she continues to have her time with Dudley.  After a battle against the Scots that goes wrong, Elizabeth has to deal with other lords where she offers them a plan that guarantees her loyalty.  Still, Elizabeth faces assassination attempts as French ambassador Monsieur de Foix (Eric Cantona) suggests that Elizabeth should marry the comical Duke of Anjou (Vincent Cassel).  Instead, the meeting becomes a disaster though Cecil tries to ensure that the Queen must marry to ensure England's security.  After another failed assassination attempt, things get worse when the Pope (John Gielgud) gets involved as he hires the priest John Ballard (Daniel Craig) to assassinate the Queen.

With her relationship with Dudley strained following the assassination attempt as he turns to Spanish ambassador Alvaro de la Quadra (James Frain) for help.  The Queen turns to Walsingham for advice as he would make moves to help ensure England's safety after learning about another assassination attempt involving Ballard, Norfolk, Quadra, Earl of Sussex (Jamie Foreman), and Dudley.  After Walsingham informs Elizabeth, she would make plans that would set the wave for her powerful reign.

While the film is mostly accurate on some parts including the assassination attempts by Norfolk and Mary of Guise. Like many bio-pics before and since, they tend to have serious flaws in terms of dramatic interpretations. Some characters are created fictionally in order to serve as a drama. Yet, screenwriter Michael Hirst does make a fine effort in being true to history as well as basing things on legends. Though some parts tend to be overdramatized including the relationship between Elizabeth and Dudley. Still, the film's direction by Shekhar Kapur is wonderfully observant to show what was going on in England as well as the stories behind the throne.

Notably the scenes of Elizabeth in the aftermath of everything as she becomes the Virgin Queen. The film has a great ending where it was intended to just end with her taking on in this role. Even in a scenario that was similar to the ending of The Godfather. In many ways, this film is more about Elizabeth in an early stage of her life as she becomes Queen. The stuff about her reign however, is another story.

Cinematographer Remi Adefarasin who creates some wonderful lighting schemes from some of the dark, lighting set-ups in the film's earlier sequences to more colorful, spacious sequences in the film's party sequences. Editor Jill Bilcock does some excellent work in the film's editing, notably a scene of Elizabeth rehearsing on what she has to say with the use of jump-cuts to create a bit of humor. Production designer John Myhre and art director Lucy Richardson create wonderfully elaborate set designs for the film's party settings as well as the wonderful use of locations for the castles inside. Costume designer Alexandra Byrne does amazing work with the dresses and suits that looks wonderfully lavish to the period the film is set in. Sound editor Mark Auguste creates tense moments of the film's sound to convey the terror that is coming.

Music composer David Hirschfelder creates an exotic film score ranging from dramatic, orchestral pieces to convey the film's suspense. The film also includes period music ranging from folk music ranging from the use of mandolins, flutes, and such to revel in the period. It's an excellent score that plays to the film's drama.

The cast is wonderfully remarkable with some small parts in roles like Amanda Ryan as Norfolk's lover, Terence Rigby as the treacherous Bishop Gardiner, Edward Hardwicke as the sympathetic Earl of Arundel in an early scene of her arrest, Jamie Foreman as the Earl of Sussex, future British pop singer Lily Allen as a young lady-in-waiting, and two small yet memorable performances from current British favorites Emily Mortimer and Kelly MacDonald as two of Elizabeth's loyal ladies-in-waiting. Daniel Craig is great in an early role as a brutal assassin. James Frain is also good as the corruptive ambassador Quadra who tries to win over the mind of Dudley. Eric Cantona is good as the French ambassador Monsieur de Foix while Kathy Burke is excellent as the hateful Queen Mary I.

In his final film role, Sir John Gielgud is brilliant as a hateful Pope who sees the Queen as a threat. Vincent Cassel is very funny and over-the-top as the Duke of Anjou with his knack to be comical and wear dresses. Fanny Ardant is great as Mary of Guise who tries to take control of Elizabeth while having some charm and wit in her role as she meets Walsingham. Christopher Eccleston is great as the conniving, secretive Norfolk who tries to get rid of the Queen in an attempt to become ruler. Joseph Fiennes is excellent as Robert Dudley, the Queen's lover who tries to deal with the new changes of her life that would ultimately led to his own downfall.

Richard Attenborough is great as Sir Cecil, an old advisor who tries to do what is best for the Queen as only sees his failure despite the Queen's gratitude. The film's best supporting performance easily goes to Geoffrey Rush as the mysterious Walsingham who becomes the Queen's right-hand man as he plans assassinations and such. Rush is just great in playing a dark character who can display charm while being cold at the same time.

Finally, there's Cate Blanchett in what has to be one of her greatest performances. Blanchett brings a wonderfully complex performance as a young, carefree, innocent woman who is aware of her possible role. Displaying the kind of insecurities and flaws that is to come from any woman who is about to rule, Blanchett brings those flaws with a grace that isn't seen much in acting. When she becomes Queen, we see a sense of anger and later, coldness as she develops into a strong woman who is trying to help a country in chaos become strong again. It is indeed a majestic performance from the actress.

Elizabeth is an extraordinary period film from Shekhar Kapur that features a towering performance from Cate Blanchett. Along with great production value and a superb ensemble cast that includes Joseph Fiennes, John Gielgud, Fanny Ardant, Christopher Eccleston, and Geoffrey Rush. It's a film that plays up the grandeur of who Queen Elizabeth was in her early years as well as the people who try to bring her down. In the end, Elizabeth is a marvelous film from Shekhar Kapur.

(C) thevoid99 2012