That 'Young Bess' is based on one of the most fascinating periods in history and that it had a lot of talent involved are reasons enough to watch it.
Once you get past the fact, if you can, that the events in 'Young Bess' are heavily fictionalised and romanticized, it really does charm and entertain (or at least to this reviewer it did). Historians will despair at the number of liberties taken with the facts, as there is a complete disregard with them to the extent that history is literally rewritten, but taken on its own terms as a film 'Young Bess' does have quite a lot to like.
Sure, there are flaws. The dialogue occasionally rambles and the character of Catherine Parr in terms of writing is underdeveloped and underused. And it did feel like it could have been 10 minutes longer to give more completeness to the story and make it clear(er) what happened to the characters for anybody who don't have knowledge of Elizabeth's early life, because it did seem a touch incomplete at the end (those who are not so familiar with this period of history especially will find this so). Otherwise, 'Young Bess' has more strengths than it has flaws.
As with many films from the 50s it looks fantastic , with lavish and meticulously evocative costumes and sets and sumptuous and rich in colour cinematography. Miklos Rosza's score is stirringly orchestrated, melodically opulent, emotion-filled, really resonates with the soul and fits beautifully without ever getting intrusive or repetitive. Apart from the odd rambling spot the script is written with wit and grace, the story is without a dull stretch and is told with poignancy and charm (it helps that the chemistry between Jean Simmons and Stewart Granger, married at the time, is full of emotion without being heavy-handed) and George Sidney's direction is assured and meticulous, ensuring that the film never dissolves into unintentional cam p or cheesiness like it could easily have done in lesser hands.
Jean Simmons plays Elizabeth with plenty of spirit and passion, not descending into the trap of being overwrought, while Stewart Granger conveys Seymour's tragedy (in this film that is) in a way that's moving and never wooden. Their chemistry is very genuine and doesn't ever make the film sink into overwrought melodrama, and they are very well supported by Guy Rolfe's conniving Edward Ned, Deborah Kerr's compassionate Catherine, Rex Thompson's stately and remarkably mature Prince Edward and particularly Charles Laughton's ideally cast Henry (a welcome reprisal from his performance, one of his best ever, in 'The Private Life of Henry VIII'). Smaller roles are solidly taken by a dignified Kay Walsh, charming Dawn Addams, jovial Cecil Kelloway and authoritative Leo G. Carroll.
In conclusion, very charming and entertaining on its own merits (which I've always found a much fairer way to judge), but if you're wanting historical accuracy look elsewhere. 7.5/10 Bethany Cox
Once you get past the fact, if you can, that the events in 'Young Bess' are heavily fictionalised and romanticized, it really does charm and entertain (or at least to this reviewer it did). Historians will despair at the number of liberties taken with the facts, as there is a complete disregard with them to the extent that history is literally rewritten, but taken on its own terms as a film 'Young Bess' does have quite a lot to like.
Sure, there are flaws. The dialogue occasionally rambles and the character of Catherine Parr in terms of writing is underdeveloped and underused. And it did feel like it could have been 10 minutes longer to give more completeness to the story and make it clear(er) what happened to the characters for anybody who don't have knowledge of Elizabeth's early life, because it did seem a touch incomplete at the end (those who are not so familiar with this period of history especially will find this so). Otherwise, 'Young Bess' has more strengths than it has flaws.
As with many films from the 50s it looks fantastic , with lavish and meticulously evocative costumes and sets and sumptuous and rich in colour cinematography. Miklos Rosza's score is stirringly orchestrated, melodically opulent, emotion-filled, really resonates with the soul and fits beautifully without ever getting intrusive or repetitive. Apart from the odd rambling spot the script is written with wit and grace, the story is without a dull stretch and is told with poignancy and charm (it helps that the chemistry between Jean Simmons and Stewart Granger, married at the time, is full of emotion without being heavy-handed) and George Sidney's direction is assured and meticulous, ensuring that the film never dissolves into unintentional cam p or cheesiness like it could easily have done in lesser hands.
Jean Simmons plays Elizabeth with plenty of spirit and passion, not descending into the trap of being overwrought, while Stewart Granger conveys Seymour's tragedy (in this film that is) in a way that's moving and never wooden. Their chemistry is very genuine and doesn't ever make the film sink into overwrought melodrama, and they are very well supported by Guy Rolfe's conniving Edward Ned, Deborah Kerr's compassionate Catherine, Rex Thompson's stately and remarkably mature Prince Edward and particularly Charles Laughton's ideally cast Henry (a welcome reprisal from his performance, one of his best ever, in 'The Private Life of Henry VIII'). Smaller roles are solidly taken by a dignified Kay Walsh, charming Dawn Addams, jovial Cecil Kelloway and authoritative Leo G. Carroll.
In conclusion, very charming and entertaining on its own merits (which I've always found a much fairer way to judge), but if you're wanting historical accuracy look elsewhere. 7.5/10 Bethany Cox