Don't be fooled by the title of this corseted sequel. While "Elizabeth: The Golden Age" infers some discourse on that enlightening period of scientific and cultural advancement (even a bit from Shakespeare would have sufficed), the film is wholly and unyieldingly concerned with the Virgin Queen. This is her personal "Golden Age," and she masters it with a vigilant grip.
The film picks up nearly 30 years after where its predecessor, 1998's "Elizabeth," left off — the monarch had just formed the controversial Church of England and polished off her transformation into a celibate ruler with some heavy white foundation. Now, the queen faces a greater threat than pretending to take interest in her litter of goonish suitors, among them the awkward, stuttering Archduke Charles, who is a far cry from the loveable, cross-dressing Duc d’Anjou from the first film. "Elizabeth: The Golden Age" is anchored by the looming arrival of the Spanish Armada after King Philip II launches holy war against England, using Elizabeth's traitorous, exiled cousin Mary Stuart, Queen of Scots, as his justification.
But it's not all politics and men pouring over logistic battle maps. Distraction comes early in the form of the dashing Clive Owen ("Shoot ‘Em Up"), a pirate with a heart, as explorer Sir Walter Raleigh. It is in these scenes that Elizabeth often sheds her rigid posture and displays true emotion, becoming unnerved in Raleigh's presence and unveiling her fear and her pain when he beds a lady-in-waiting (Abbie Cornish, "Candy").
The biopic saga is once again directed by Shekhar Kapur, whose videography since his first Elizabethan mega-hit has been disappointingly lackluster, his only directorial work being 2002's boorish war drama "The Four Feathers." Luckily, Kapur's string of hopeless productions ends with "Elizabeth: The Golden Age." Cate Blanchett ("Notes on a Scandal") reprises the role that launched her to stardom with a powerhouse performance, and the always enjoyable Geoffrey Rush ("Pirates of the Caribbean: At World's End") returns as her loyal Master of Spies, Sir Francis Walsingham.
Unfortunately, the film is often weighed down by its overindulgence in the elaborate. Big costume pieces, though beautiful, often overshadow the human aspect when paired with the relentless orchestra and grand set design. As a result, most characters lack development, and none but Elizabeth herself is truly understood in her actions.
Blanchett, however, plays the role with a commanding elegance, and her fierce struggle for control — over her country and also over her own person — is what is most memorable here. The film succeeds in showing the queen's heart and dominance. The force of her power may at times seem to frighten her, and her ultimate strength, though perhaps a bit glorified, is still profound.
History takes a back seat to these emotionally charged interludes. For instance, the devastating defeat of the Spanish Armada passes in 10 minutes' time in jagged flashes showing cannon fire and Queen Elizabeth looking regal with red hair flowing in the wind over her gleaming silver armor.
Despite this, "Elizabeth: The Golden Age" is still a classic portrayal of historical fiction. It shows the romanticism and lives of the people of the 16th century to pleasing effect. Though only glimpses of Golden Age achievements are a few mere moments with a philosophizing astrologist who cryptically refers to Elizabeth as a "prince of a female gender," the film is a worthy follow-up to the immense success of the first.
3.5 stars out of five stars
