The Private Lives of Elizabeth and Essex (1939)

The Private Lives of Elizabeth and Essex aka Essex and Elizabeth
Director: Michael Curtiz
USA 1939
106 min
Starring: Bette Davis, Errol Flynn, Olivia de Havilland, Donald Crisp, Vincent Price and Henry Daniell, among others.

Welcome to the misogynist version of the life of Queen Elizabeth I!

Nah, I won't complain too much. Just enough.

This film is, like the ones in my previous post, based on a popular play. This was Elizabeth the Queen from 1930, written by some bloke called Maxwell Anderson. Initially the film version had the same title, but pompous Flynn wanted his existence included in the title - and there you have the present title. The "aka" title is even worse, putting Essex's name before the queen's! It is with that title the film is listed at IMDb.

Misogynist points: +5p.

Bette Davis as Queen Elizabeth I. The likeness is astounding.

Errol Flynn as Earl of Essex. Uncanny resemblance.

One can of course not expect a Hollywood version of a play, based on real events that took place more than 400 years earlier, to be entirely historically correct. For one thing, when this film starts it is 1596 and Robert Devereux, 2nd Earl of Essex (Flynn) has just to returned to London after the capturing of Cadiz.
In short: he beat up some Spaniards and the British people was happy, even though Essex wasn't entirely successful. At this time Essex was 31 years old - Queen Elizabeth was 63. Bette Davis was less than half the real age of the queen! But it's Hollywood, and the studio probably didn't want to put Marie Dressler in a romantic lead opposite handsome Flynn. Perhaps because she had been dead since 1934, but I don't know.

Misogynist points (for not hiring Dressler): +2p.

Before I get carried away with bitchiness, I may add that I loved the dialog that obviously points to a great playwright. And although Bette Davis and Errol Flynn didn't get along (to say the least), they managed to fool me several times - pointing towards great actors. Donald Crisp is excellent as Sir Francis Bacon, even though he still haunts my worst nightmares since Broken Blossoms (1919) [blog post]. But the coolest of all: Davis had her forehead and eyebrows shaved for this role. A funny fact that all classic film devotees should know blindfolded while being eaten alive by plague smitten rats.

So, may I be a little cruel now that I have been a pleasant little girl? Good. Yes, the dialog was smoothly written and is delivered with elegance - but what the heck does Essex think he can say to a queen? She is of course quite a bitch sometimes, but she is the goddamn queen! Take for example when the queen asks him if he think he's rule England better just because he's a man.


"I do indeed. And that's exactly where you fail. You can't think and act like a man."

When she gets mad, he laughs and says: "Fiery wench, aren't you?"

I want to hit him. Hit him hard. Which Bette Davis amusingly enough did during their first scene, after Essex had had the guts to turn his back to the queen. The slap, with heavy rings and all, was real and not intended. (Perhaps intended by Bette, but not planned by the director or anyone else.) According to Flynn's autobiography he wasn't too happy, which really shows in the scene. He has to use all power not to strike back. Haha, he deserved it. Pig.


Misogynist points: +10p.

Essex goes to Ireland to fight (don't they ever stop?), but the Queen orders him home. (In reality, she had forbidden him to come home, but being accurate is so boring.) The whole messy relationship ends when Essex tries to overthrow the queen by taking her and the palace hostage. (In reality he suddenly turned up in her bedroom without her being properly dressed - this time being accurate was too fun. He did not invade her court until two years later, neither. Too boring a fact.) Queen Elizabeth forgives him after some romantic talk about how he will become a good king and she will rule by his side (yeah, right), after which she demands him taken to the Tower and be executed for treason. Sensible enough.

What I don't quite buy, though, is her calling him back the day of the execution to pardon him. He was obviously only after her throne (Queen Elizabeth was, like I said, 60+ years old and covered with smallpox scars), yet she wants him pardoned - and he refuses! Yes, the silly man refuses to be pardoned, turns his back on her (again) and leaves for the gallows. She falls to the floor, shouting after him:

"Robert... take my throne! Take England! It's yours!"

...yeah, about that. What the duck? Why a duck?
No, seriously. This is a parody of post-code Hollywood - to have goddamn Queen Elizabeth begging on the floor. We are talking about the woman who, apart from being the daughter of infamous wife-executioner Henry VIII, imprisoned and executed her cousin Mary, Queen of Scots. The woman who became queen at the age of 25, and obviously had been able to handle her own for 40 years. Her... begging, with tears flowing down her face? She was obviously sad by the turn of events, but I will not buy that she couldn't keep it together at all and offering the throne to a traitor.

Misogynist points: +157

Result: A movie that does not fancy women.

Bette is disappointed with the view on women in Hollywood.

I hate when I sound like a feminist whiny bitch, but this is just too much. It's not a bad movie, Bette Davis is strong and awesome (most of the time... when she could)... but these little details annoyed the hell out of me. (Should one really take ten frustrated cigarette breaks and a glass of red wine during one movie?) To hell with it. And Errol Flynn (although he is quite handsome).

Fun fact: Robert Devereux, 2nd Earl of Essex was the only man to ever have a private execution on Tower Green (no family fun for the British people there), and it supposedly took the executioner three chops before his head was severed. That's karma, asshole.

Broken Blossoms (1919)

Broken Blossoms or The Yellow Man and the Girl

Director: D. W. Griffith

USA 1919

90 min

Starring: Lillian Gish, Richard Barthelmess and Donald Crisp, among others.

Not being one of the motion picture pioneer D. W. Griffith's usual mastodon pieces, this is an unobstrusive dramatic story about forbidden love between a poor, abused girl, Lucy (Gish), and a Chinese man, Cheng Huan (Barthelmess), who travelled to the United States to spread the learnings of Buddha.

When Lucy, after having been brutally beaten by her father, ends up fainting at the doorstep of Cheng's store, he instantly becomes fascinated with the beautiful, unhappy girl. He takes her up to a room above the store, treats her well and sees that she recovers. When her father, Battling Burrows (Crisp), finds out that she is having a relationship with a "simple China man", he takes her back and prepare to learn her a hard lesson.

Following is a hideous scene, one of the most frightening I've ever seen in a film. Scared to the bone, Lucy panics and hides from her insane father in a closet, desperately hugging a doll Cheng had given her. All the while her father bangs on the door, Lucy tries to appeal to her father's feelings, yelling that "They will hang you!" and "T'was nothing wrong!".

To prepare for the scene, Gish supposedly visited an insane asylum to learn how to imitate the feeling of pure horror. She managed so good that people walking by the studio during filming tried to rescue her when hearing her screams.

Lillian Gish and Richard Barthelmess.

G. W. Bitzer's photography is simly amazing. He and Griffith collaborated to find ways to soften the light and bring out the dreamlike feeling of the surroundings. They used different filters, they greased the camera lens and came up with tons of other ideas of how to make the perfect cinematography. It has to be seen to be understood.

For the untrained eye (i.e. to those who do not think much at all), this film might seem like racist propaganda. Racial slurs like "Chinky" are used, and the Asians (always smoking a hookah) are mostly played by Kaukasians in yellowface. This does however have explanations.

[Updated for clarification.]

The racial slurs are not meant as offensive, they are mearly a product of the time. Several times in the film Battling Burrows is actually pointed out as a common racist (see lines like "He didn't like people who were born in another country").

Why Kaukasians play the roles of Asian people is simple to explain: the production code at the time forbid non-Caucasians to kiss the Caucasian leading actor/actress on-screen, thereby reducing the possibility of a non-Caucasian having a romantic leading role at all. (At this time the only big Asian name in Hollywood was Sessue Hayakawa, and soon Anna May Wong [post about her and difficulites like these here] would enter the scene.)

Yes, it's racism - but it had however nothing to do with the director's choice directly.

Broken Blossoms was the first film to be produced under the name of United Artists, a production company founded by Griffith, Mary Pickford [post], Douglas Fairbanks and Charles Chaplin. Initially it was supposed to be released through Adolph Zukor's Artcraft company, but when Zukor saw the final production he got furious.

"How dare you deliver such a terrible film to me!"

Griffith returned to Zukor's office the next day with $250 000 in cash and bought the film back from him, releasing it himself.

Well done, lucky us. It's a fantastic film, even though it's a true tearjerker.

D. W. Griffith.

Adolph Zukor.

I went through the trouble to put together the famous closet scene from Broken Blossoms with a Mike Oldfield song, since I think it's such fun to mix old and (relatively) new. The song is called "Evacuation", and you can find it on the soundtrack to The Killing Fields (1985). I kind of liked the result!

You can call it blasphemy if you want, but then you should know that I at first considered The Beatles' "Help!" and The Pixies' "Here Comes Your Man"...