Introducing Murtada’s Corner

Let me introduce Murtada’s Corner which will be the new section where you can read about other topics. The podcast will remain all about Cate Blanchett but here I will branch into other writing – old and new – about other topics. Mostly cinema related.

Muligan in Never Let Me Go

I’m starting with another actress I admire, Carey Mulligan and a collection of articles I’ve written about her through the years. Happy Reading!

Carey Mulligan is an actress of immense range. Since her breakout at the 2009 edition of Sundance with An Education, she’s given us many tremendous performances. All of them heartbreaking and deeply felt in different ways, whether she’s a replicant trying to make human connections (Never Let Me Go), F Scott Fitzgerald’s famous Daisy (The Great Gatsby), a broken sister singing her heart out as a last cry for help (Shame) or a wife and mother facing the dissolution of her marriage and the paucity of choices after (Wildlife). And once again she gives an exceptional performance in Promising Young Woman

On her performance in Wildlife:

This is her shining moment. It’s her Blanche Dubois moment. Her Jeanette, a Montana housewife dealing with the repercussions of a crumbling marriage, is untethered yet Mulligan is in complete control. She holds the performance in her voice, as it trembles with emotion – hurt, confusion, anger, uncertainty  – all is clear to the audience through the timber of her voice.”

Click to read more…

and stream on Netflix

Mulligan’s performance is an emotional marvel and delivered with technical mastery. Her working class English accent is impeccable, her weariness and defeat is visible in her hunched back and heavy walk, her defiance rises to crescendo and is delivered with skillful control of her voice. This is why there are awards for acting.

Click to read more on Suffragette, also available to stream on Netflix.

And at this year’s Sundance Mulligan impressed me once more in Promising Young Woman.

Mulligan is engaging and ferocious throughout and the reason to immediately buy a ticket.

Click to read more….

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‘Elizabeth’ and the 1998 Oscar for Best Actress

For the 2nd season finale of the podcast, we return to 1998. Elizabeth was Cate Blanchett’s international breakout and the first time many people saw her on screen. Hence it deserves a revisit. To discuss the film again, along with Blanchett’s first Academy Award nomination and the 1998 best actress Oscar race, Murtada Elfadl welcomes Izzy from Be Kind Rewind Logo - Lizzy copy Subscribe:  Apple Podcasts   /   Stitcher   /  Spotify  /   iHeart What is the film about? From imdb: The early years of the reign of Elizabeth I of England and her difficult task of learning what is necessary to be a monarch. Directed by Shekar Kapur; also starring Richard Attenborough, Geoffrey Rush, Joseph Fiennes, Emily Mortimer, Kelly McDonald. What year did it come out? 1998. Who does Cate play? Duh – top billed.  How is Cate introduced? 7 Minutes in, dancing in a field among her ladies in waiting. Box Office: Domestic = $30,082,699 (36.6%), Int’l = $52,067,943 (63.4%).
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Cate Blanchett as Elizabeth I
Topics Discussed:
  • Why was this performance so well received? It was considered such an arrival of a major star. How much is the role? How much is Cate? She charts a whole journey and character arc from young woman to monarch to stateswoman to almost deity, getting the chance to play innocent, cunning, in love, betrayed; the whole gamut of emotions.
  • So many actresses played this part: Bette Davis, Glenda Jackson, Anne-Marie Duff, Helen Mirren and Margot Robbie. Why is it so attractive to storytellers?
  • What is the Cate moment that sealed her stardom and Oscar nomination? Basically what’s this film “I have a hurricane in me” from Elizabeth: The Golden Age?
    • Ominously surrounded by men as Elizabeth is interrogated in the tower early on the film. Vacillating between fear and trying to hold it together while answering a barrage of questions.
    • Her scene with Kathy Burke as Mary “I see you are a consummate actress.” 
    • Preparing and delivering her speech to the bishops.
    • Lamenting the defeat of her troops in Scotland by Mary of Guise.
    • The finale “I’ve become a virgin.
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Cate Blanchett in Elizabeth and Gwyneth Paltrow in Shakespeare in Love. Both won Golden Globes, Paltrow won the Oscar
Other 1998 Oscar Best Actress Nominees: Gwyneth Paltrow, Shakespeare in Love – the winner. She and Cate both won at Golden Globes. Meryl Streep, One True Thing – Nomination #11 out of 21. Only nomination for film. Great monologue, “I’m tired of being shushed.” Fernanda Montenegro, Central Station– won best actress at the Berlinale, LAFCA and NBR. She and Cate were runners up to Ally Sheedy (High Art) at NSFC. Runner up to Cameron Diaz (There’s Something About Mary) at NYFCC. This tweet is funny! Emily Watson, Hillary and Jackie – forgotten film, more of an afterglow nomination 2 years after Breaking the Waves. Interesting career trajectory with Blanchett as she was considered for Elizabeth.
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The other 1998 Oscar nominees were Fernanda Montenegro in Central Station, Meryl Streep in One True Thing and Emily Watson in Hilary and Jackie
Did Paltrow win because she played a romantic lead, something academy members are prone to award —Roman Holiday, Moonstruck—while Blanchett was playing a more traditionally male role as a monarch? More from Murtada and Izzy: Elizabeth was previously discussed on the podcast. Don’t miss Be Kind Rewind on how Shakespeare in Love won its Oscars. Note on the headline: This Oscar year is sometimes referred to as “the 1999 Oscars” since the ceremony took place in March of 1999. However I prefer using the year of the film’s release, 1998.  Subscribe:  Apple Podcasts   /   Stitcher   /  Spotify  /   iHeart Like? Rate and Review. Have a question? Leave us a comment.

Cate Blanchett in ‘Documentary Now’ / ‘Manifesto’

We are going avant garde because “art is supposed to be radical.” Murtada welcomes Shelley Farmer to discuss Waiting for the Artist (2019), an episode of Documentary Now and the film Manifesto (2017) which started as an art installation.

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Documentary Now: Waiting for The Artist

Follow along, Blanchett’s episode is available on Netflix.

What is the film about?

An episode of the third season of Documentary Now inspired by the Marina Abramovic doc The Artist is Present. From imdb: A performance artist returns to her native Hungary for a career retrospective.

What is Documentary Now? 

An American mockumentary television series, created by Fred Armisen, Bill Hader, Seth Meyers, and Rhys Thomas. The series spoofs celebrated documentary films by parodying the style of each documentary with a similar, but fictitious, subject. Notable episodes include spoofs of Grey Gardens, The Thin Blue Line and Company Original Cast Album.

What year did it come out?

 2019

Who does Cate play?

 Izabella Barta, a take on Marina Abramovic.

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Topics discussed:

  • Documentary Now the series, what they are good at, memorable episodes, why is it a must see?
  • Mimicry, she’s an ace after all she played both Bob Dylan and Katharine Hepburn so to take to this absurd level is fun.
  • Adding absurdity to all the re-creations of Marina Abramovic, this a spoof of her 2012 documentary The Artist is Present.
  • This is a fun absurd register that she doesn’t play with in her films though she has played ridiculous (Crystal Skull, Cinderella).

Memorable quotes:

  • “I am human”
  • “Got pain in my uterus already”
  • “It’s supposed to be radical”

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What reviews said about Cate:

“There’s a genuine, and familiar, tragedy underneath Blanchett’s Slavic accent, and she doesn’t play the part for laughs. There’s humor in the episode, but it’s the humor of recognition, not release. Even if it’s fiction, “Waiting for the Artist” still feels like it’s documenting something real.” – Sam Adams, Slate

“The episode is written by Seth Meyers, and its brilliance lies in how tenderly both he and Blanchett approach Barta, a woman whose installations have included getting strangers to pass her toilet paper and pretending to be a cat. Performance art is so ripe for parody that it almost resists it. But Meyers, whether accidentally or not, finds some real meaning in Barta’s work, which attempts to expose the absurd suffering of the human condition.” – Sophie Gilbert, The Atlantic.

Film within context of Cate’s career:

Fun project that shows she can be in on the joke playing off her persona as a great actress.

Other references:

Behind the scenes of the episode @ IndieWire

Recently Cate and Marina spent time together in London.

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MANIFESTO

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What is the film about?

Official Synopsis: Manifesto pays homage to the tradition and literary beauty of artistic manifestos, ultimately questioning the role of the artist in society today. Performing these ‘new manifestos’ as a contemporary call to action while inhabiting thirteen different personas, Academy Award winner-Cate Blanchett imbues new dramatic life into both famous and lesser-known words in unexpected contexts. Details about the 12 manifestos here.

Follow aong, Manifesto is available on Amazon Prime.

What year did it come out?

the installation came out in 2015, the film in 2017.

Who does Cate play?

13 characters reciting 12 manifestos.

 Metacritic : 72. RT: 76

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Topics to discuss:

  • Does it work as a movie? What makes it a movie if it is? Is it entertaining.
  • The installation which I saw in NY at the Park Avenue Armory
  • You get 13 Cate performances in 90 minutes. Heaven or overkill?
  • The makeup and hair artists are standouts
  • The conception of the characters – a trick to play with an actor’s outside attributes as opposed to soul. Fits the film but what does it add to Blanchett’s reputation?
  • She gets to detail so many little gestures in building her characters, as a gestural actor it must have been wonderful to play 
  • Her performance as Bob Dylan influenced the conception of this project
  • Is it navel gazing? People who consider themselves artists making a project about artistic manifestos.
  • Her husband and children appear in the “Pop Art’ segment
  • Released as a film to pay for the installation

Scenes we liked

  • “Dada is still shit, but from now on we want to shit in different colors.”
  • When she makes a little Cate doll.
  • Norma Desmond come to life as the choreographer
  • “When discourse is opinion,” “when you don’t have to know anything yet you think you know everything” drag EVERYONE Cate. The film comes to life here.

(video edited by Shayma)

Film within context of Cate’s career:

Bolsters her reputation as a chameleon without any expectations that may come with a “regular” film.

What reviews said of film / Cate:

“The surprise here is that Rosefeldt has managed to deliver an intellectually-charged, cheeky, and very funny film that feels unruly and expansive in spite of its tight 12-day shooting schedule and its focus on just one performer. Blanchett has no fear as a performer, and she has such enormous appetite for acting that she rips into each of the characters she is playing in “Manifesto” as if she were hungrily stripping meat off of chicken legs and then hurling the bones over her shoulder. She is such an acting prodigy that she needs to be properly challenged, and “Manifesto” is such a challenging and unlikely project that Blanchett uses her talent as she never has before, splashing it all over the screen and making bold gestures that only become physically overdone when she plays an Eastern European choreographer in a turban.” – Dan Callahan, The Wrap.

“There’s an apocryphal story about turn-of-the-century theater queen Sarah Bernhardt reading the phone book so emotionally that the audience was left weeping. That’s what Blanchett is doing here. She adds a human element. She can turn anything into art. Even artistic navel-gazing.” – David Fear, Rolling Stone

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Cate Blanchett in ‘Indiana Jones and the Kingdom of the Crystal Skull’

We are going big this week. Big movie. Big performance. Murtada welcomes Gavin Mevius, co-host of The Mixed Reviews Podcast to discuss Steven Spielberg’s Indiana Jones and the Kingdom of the Crystal Skull (2008).

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Follow along, the film is streaming on Netflix.

What is the film about?

 From imdb: In 1957, archaeologist and adventurer Dr. Henry “Indiana” Jones, Jr. is called back into action and becomes entangled in a Soviet plot to uncover the secret behind mysterious artifacts known as the Crystal Skulls.

When did it come out?

May 2008

Who does Cate play?

Dr Irina Spalko; a doctor, colonel, and the primary antagonist of the film. She is a psychic, as well as a very skilled fencer and combatant. Called “Stalin’s fair haired girl” by one of the characters.

How is Cate introduced? 

 5 minutes in; first a commanding voice then cutaway to her in sunglasses emerging from car. As usual with Cate it’s a movie star entrance.

Box Office: Domestic = $317,101,119          Int’l = $469,534,914

Metacritic : 65. RT: 78.

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Topics discussed:

  • What did we think of the first 3 Indiana Jones movies? Why was this one so indifferently and or negatively received?
  • Steven Spielberg – general yay or nay? Fave films?
  • A ridiculous, campy over the top stylized performance. Everything heightened visually (the gray jumpsuit, the robotic body movements, the black bob), sonically (accent, clipped tones) – does it work?
  • Cate gets asked to play villains in big movies – Hana (2010), Cinderella (2015), Thor: Ragnarok (2017). Why? 
  • Lovely to see Karen Allen, remember Starman (1983)?
  • A lot of unnecessary exposition of backstory – just get to the action. And Ford is leaning into old professor delivery which doesn’t enliven the scenes.
  • The snakes, scorpions, quick sands, everyone’s phobias are there. Are they fun? Did we miss these from the other movies?
  • Ford and Allen trying Tracy / Hepburn – does it work?
  • Ridiculous refigerator scene. But it sets the tone and we now know what to do in a nuclear apocalypse.

“What people really jumped at was Indy climbing into a refrigerator and getting blown into the sky by an atom-bomb blast. Blame me. Don’t blame George. That was my silly idea. People stopped saying ‘jump the shark.’ They now say, ‘nuked the fridge.’ I’m proud of that. I’m glad I was able to bring that into popular culture.” – Spielberg to CNN.

  • Who wields the sword best? Shia really had no chance
  • Why the disdain for this performance? Was the film not exciting enough? Was there Cate fatigue at the time? That ludicrous death scene? 

Memorable quotes:

  • “You’re a teacher?” “Only part time”
  • “You fight like a young man. Eager to begin, quick to finish”
  • “Tell me I’m ready, I want to know”

Costumes we loved?

Well it’s just the one; an all -pupose gray jumpsuit.

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Lucas, Spielberg, Ford and Blanchett at the Cannes Film Festival May 2008

Scenes we liked:

The car chase in the forest with the sword fighting – exciting.

What seemed off:

  • Is the action exciting? What NY Magazine called “the setups are wittier than the payoffs.”
  • The plot is ridiculous as befits this type of movie, but it’s too ridiculous and unnecessarily dense and confusing.

Film within context of Cate’s career

This film was announced after Cate revealed her break with movies to run the Sydney Theater Company.

What reviews said of film / Cate:

The bad guys this time are cold war Reds first seen poking around an American military base and led by Irina Spalko. A caricature given crude, playful life by Cate Blanchett, Irina owes more than a little to Rosa Klebb, the pint-size Soviet operative played by Lotte Lenya, who took on James Bond in “From Russia With Love.”

Dressed in gray coveralls, her hair bobbed and Slavic accent slipping and sliding as far south as Australia, Ms. Blanchett takes to her role with brio, snapping her black gloves and all but clicking her black boots like one of those cartoon Nazis that traipse through earlier Indy films. She’s pretty much a hoot, the life of an otherwise drearily familiar party.Manohla Dargis, NYTimes

“Harrison Ford used to lighten his clenched persona with goofy shrugs that said, “I can only go so far with this hero stuff.” But the years have dried him out; he seems like a peevish movie star who’s too self-centered to interact. When he’s supposed to realize that Marion is the love of his life, he looks as if he’s gritting his teeth to kiss her. Blanchett—a great art object, her satin skin taut over those Asiatic cheekbones—hits the same note with diminishing returns. How many variations are there of “We meet again, Dr. Jones?”  David Edelstein, New York Magazine

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Irina Spalko, played by Blanchett with the severe demeanor of Cyd Charisse’s Ninotchka in the 1957 MGM musical Silk Stockings and the black bob Charisse sports in The Band Wagon.”- Richard Corliss, Time.

“Blanchett, who has absolutely no idea what to do with her role: She’s equal parts evil and incompetent, and she’s the least dangerous villain Indiana Jones has ever faced. Turns out that George Lucas and Steven Spielberg are far more threatening foes.”The Village Voice

Cate in relation to these co-stars, director, costume designer:

  • Only collaboration with Spielberg, Ford, Labeouf and Allen.
  • Kathleen Kennedy – current overlord of Star Wars – produced this and Benjamin Button, released in the same year.

Promotional appearances:

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Cate Blanchett in ‘The Curious Case of Benjamin Button’

This week we discuss one of the most popular films Cate Blanchett has ever been in, yet oddly unrecognized as one of her signature parts. It’s The Curious Case of Benjamin Button (2008), directed by David Fincher and co-starring Brad Pitt.

HostMurtada Elfadl, some of Murtada’s film writing can be found here.

Guest : Andrew Kendall, some of Andrew’s film writing can be found here.

The Curious Case of Benjamin Button

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What is the film about?

From imdb: Tells the story of Benjamin Button, a man who starts aging backwards with bizarre consequences. Follow along by streaming on HBO Max.

What year did it come out?

Christmas 2008.

Who does Cate play?

 Daisy; Benjamin’s lifelong friend, they lose each other then find each other in the middle.

How is Cate introduced?

The film opens with old Daisy in her deathbed. Then at 0:59 briefly Ballerina Daisy ie older Daisy appears for the first time her face scrubbed of wrinkles. Her story starts at 1:27.

Box Office: North America = $127,509,326 Int’l = $206,422,757.

Metacritic : 70. RT: 71.

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Topics Discussed:

  • Chemistry with Brad.
  • Cate in love stories.. Why does no man seem worthy of her on screen?
  • Outside of LOTR is one of Cate’s biggest hits; a result of wide distribution and availability. Does it reflect her screen persona ie if this was someone’s intro to her or what they know her from?
  • The technology … the makeup.
  • It spins tall tales, not just Benjamin’s but also Mr Gateau. Does the filmmaking fit the style of tall tales?
  • Where does it stand in Fincher’s filmography. Why are his fans and the critical establishment unkind to it?
  • It’s Cate Blanchett pod but let’s talk Taraji too! A very warm performance as evidenced by the laugh after she says “some joy too.” But is this character a modern version of the Mammy archetype?
  • Stacked cast: Mahershala Ali, Tilda Swinton, young Elle Fanning, Julia Ormond, Jared Harris.
  • Which part of the story sags a bit? Perhaps the Tilda part? Not just her story but also the tugboat.
  • Awards wise the film was beloved yet oddly not Cate’s performance, why? Because she’s “the girl?” Because she was absent for long stretches of screen time? The old age makeup despite the expert “old” voice? Was the category just crowded?

Famous quotes:

  • “We are meeting in the middle.” 
  • ‘He gives me the willies, that is not for me” said by one of the sex workers.

Costumes we loved:

  • The red dress on the first date with Benjamin; memorable. 
  • Her ensemble in the post show party when she ditches Benjamin for a fellow dancer.

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Scenes we liked:

  • The short film about Daisy’s accident. 
  • Older Daisy when Benjamin returns as a teenager.

What seemed off :

Is the storytelling too stately and classic for this odd little story? Does the tall tale crumble under the long Dr Zhivago- like epic treatment?

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Julia Ormond, Blanchett and Henson at the LA premiere in December 2008

Film within context of Cate’s career:

  •  Got her hollywood star of fame during the press for this film ie. bought for her by Paramount who released..introduced at the ceremony by Fincher and Kathleen Kennedy.
  • Came at the end of a very busy few years from 2004 to 2008 where Cate was very active in movies. It was the last film she made before taking a sabbatical for 6 years to run the Sydney Theater Company. In those years she didn’t completely abandon movies  (Hanna, Robin Hood) but she wasn’t as active. 

Film within the context of year it’s been released:

Awards: Nominated for 13 Oscars though not for Cate. 

It was a commercial hit yet has strangely disappeared from cultural discourse except for being the one side eyed within Fincher’s filmography.

What reviews said of film / Cate:

The movie, directed by David Fincher, will probably be a hit anyway, because the gimmick (adapted by Eric Roth from an F. Scott Fitzgerald story) is fun to play around with in your head, and because it’s liberating to watch makeup gradually come off an actor instead of getting thicker (and phonier). Fitzgerald spent the later years of his life haunted by the profligacy of his early ones; to reverse time and recover his youthful body and stamina but retain his aged wisdom must have been a blessed pipe dream. Fincher is no humanist (his most vivid film is the clammy, clinical Se7en), and he refrains from milking the material for sentiment—which means the movie isn’t mawkish, but it isn’t especially vivid either. The light is yellowish and diffuse, the backdrops—the clock, a factory wall, the side of a ship—oversize. It’s a gentle expressionism, redolent of death without rattling bones

Fitzgerald’s alter-ego finds his Zelda—called, aptly enough, Daisy—when she visits the convalescent home where his horrified father abandoned him. She grows up to be Cate Blanchett, whose face is uncannily ivory-smooth. When Daisy and Benjamin meet in the middle, both at the peak of their physical perfection, they’re like two Greek statues basking in each other’s radiance, albeit with dialogue that knocks them down a few pegs: “I was thinkin’ that nothing lasts, and what a shame that is.” As they move toward death, one in the direction of infancy and dirty diapers and the other toward old age and osteoporosis, The Curious Case of Benjamin Button attains a level of quiet grace. It’s too bad that I can barely remember the movie after only a week. Nothing lasts, indeed.’ – David Edelstein, NYMag.

Their time as lovers is the film’s most ecstatic passage, to which Blanchett (who played Pitt’s wife, under more trying circumstances, in Babel) lends all her intelligent warmth Richard Corliss, Time.

But the movie’s emotional center of gravity — the character who struggles and changes and feels — is Daisy, played by Ms. Blanchett from impetuous ingénue to near ghost with an almost otherworldly mixture of hauteur and heat.”- AO Scott NYTimes.

“A curious case indeed: an extravagantly ambitious movie that’s easy to admire but a challenge to love.” – Lisa Schwarzbaum EW.

Cate in relation to these co-stars, director, costume designer:

  •  Her only collaboration with Fincher who said about her, “I always say everyone was lucky enough to be in a Cate Blanchett movie.”
  • I want her and Pitt to work again together. Also made Babel together.

Press coverage other than reviews:

Cover of Vanity Fair February 2009. 

Promotional appearances:

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Cate Blanchett in ‘Elizabeth’

For our first episode of the podcast, we review Elizabeth (1998), directed by Shekar Kapur. This film is considered to be Cate Blanchett’s international breakout and the first time many people have ever seen her on screen.

Host: Murtada Elfadl, some of Murtada’s film writing can be found here.

Guest : Teo Bugbee, some of Teo’s film writing can be found here.

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What is the film about?

From imdb: The early years of the reign of Elizabeth I of England and her difficult task of learning what is necessary to be a monarch.

Directed by Shekar Kapur; also starring Richard Attenborough, Geoffrey Rush, Joseph Fiennes, Emily Mortimer, Kelly McDonald and Daniel Craig.

What year did it come out?

1998 – first played at Venice in September. US limited release in November 1998, wide in February post Oscar nominations.

Who does Cate Blanchett play?

Duh – top billed. 

How is Cate introduced?

7 minutes in, dancing in a field among her ladies in waiting.

Box Office: Domestic = $30,082,699 (36.6%), Int’l = $52,067,943 (63.4%).

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Coronation time for Blanchett as Elizabeth I

Topics discussed:

  • Then vs now. Seen then as a new transformative dynamic violent and sexy take on history; different spin than usual polite masterpiece theater drama. That take doesn’t hold as much now since we’ve seen many other historical dramas and of that story in particular.
  • Historical veracity :  “I had to make a choice whether I wanted the details of history or the emotions and essence of history to prevail,” said Kapur.
  • Cate made a point in interviews at the time that this was an interpretation of English history made by outsiders from the commonwealth; an Indian and an Australian.
  • Elizabeth growing up into a wily politician; does the performance get us there? Are the behind the scenes political machinations the reason this film was resonant at the time?
  • The tone of the other performances e.g Vincent Cassel.
  • Joseph Fiennes vs Ralph Fiennes.
  • Is it camp? 
  • The Godfather (1972) comparison – many reviews pointed that out, and Kapur himself admitted that he modeled the ending after it. 
  • The gestural quality of Cate’s performance particularly in the quiet scenes where she thinking or wistfully looking at the distance. 
  • The ending is memorable and plays well with the image we know of Elizabeth.
  • Anne Hathaway on Cate – “It changed my life (Cate Blanchett in Elizabeth). There’s a scene where she does this little nose sniff and, I swear to God, I spent the first 6 years of my on-camera career trying to reproduce it. I never succeeded. People kept saying ‘Do you need a tissue?’
  • How the film compares with another film about European royalty, Queen Margot (1994).
  • There’s a lot of conversations about Elizabeth being a woman in a man’s role. What is the film trying to tell us?

Film within context of Cate’s career:

  • International breakout. Probably the first time many people – including me – saw her. 
  • Cemented her reputation as somebody to watch, someone who will have a long career and is a star actor. Don’t think anyone would watch it now for any other reason.

Awards: Nominated for 7 Oscars: Best Picture, Cate, Makeup ( Jenny Shircore won), Cinematography, Costumes, Production Design, Score. 

  • Cate won Golden Globe and Bafta.
  • It was the Oscars of 2 Elizabethan movies (also Skakespeare in Love).
  • Whoopi Goldberg came out dressed as Elizabeth at the Oscars “I am the African queen, some know me as the virgin queen… I don’t know who.”

More on Elizabeth and the 1998 Oscar race for best actress.

What reviews said of film / Cate:

Blanchett’s triumph is to create a thoroughly convincing depiction of the journey from canoodling girlhood to the threshold of an imperial monarchy, battling her fears, shedding illusions, absorbing pain, learning judgment, turning anxiety into resolution, acquiring steel and sinew.”- The Guardian.

the captivating Cate Blanchett rules England in “Elizabeth” as if the monarch’s principal responsibilities were being bejeweled, choosing consorts and saying “Leave us!” with a wave of the hand.” – Janet Maslin NY Times.

More from Maslin “Ms. Blanchett, who was marvelous in “Oscar and Lucinda,” brings spirit, beauty and substance to what might otherwise have been turned into a vacuous role. Still, it’s jarring when the Queen dances in the midst of admirers as if this were “Saturday Night Fever” or sounds an awful lot like Tootsie when she declares: “I may be a woman, Sir William. But if I choose, I have the heart of a man!” Ms. Blanchett’s flouncing Elizabeth is bolstered by an impressive supporting cast, though the secondary characters engage in so many schemes that you may wish Bill, that nice new playwright from Avon, would drop into the film and make more sense of the dramaturgy.

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Blanchett as Elizabeth delivering one of many monologues in the film

But there’s more hot blood running through the veins of this opulent production than its A&E-style subject matter might suggest. This is a sensual, psychologically modern costume drama influenced by both The Godfather and gals’ guides to empowerment; beneath the finery of these schemers beat hearts as up-to-date as any on a TV drama, assuming a TV story line allows for beheadings.” – Lisa Schwarzbaum, EW.

What it gets right is the performance by Cate Blanchett, who was so good as the poker-playing glass manufacturer in “Oscar and Lucinda” (1997) and here uncannily comes to resemble the great monarch. She is saucy and heedless at first, headstrong when she shouldn’t be, but smart, and able to learn. By the end she has outsmarted everyone and become one of the rare early female heads of state to rule successfully without an alliance with a man.” – Roger Ebert

Elizabeth” is superior historical soap opera that shrewdly side steps all the cliches of British costume drama with its bold, often modern approach.”- David Rooney, Variety.

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Cate Blanchett at the 1999 Oscars

Press coverage other than reviews; NY Times profile:

Mr. Kapur, speaking on the phone from Delhi, said: ”Cate has a combination of strength and vulnerability, which, for me, is what Elizabeth was all about. She attacks a role with a ferocious intellectuality. You can’t pass anything by her, you can’t sweet-talk her into anything. But inside, she is all emotion.”

This vigor also struck Eccleston, who, as the Duke of Norfolk, plays one of Elizabeth I’s chief adversaries. ”There is a directness and gutsiness about Australian women that is great for the film industry, and that was great for Cate playing the monarch,” he said. ”I think that role would have defeated a lot of our middle-class English roses.”

Not many other in the archive… there’s a lot of coverage in 1999 and 2000; post her big breakout when she was appointed as the next big thing because of Elizabeth.

Closing Quote:

Brenda Blethyn at the Golden Globes where Cate won; she was nominated for Little Voice.

I only went to see Elizabeth (1998) because of Cate Blanchett. I thought she was absolutely fabulous and I was delighted she won. I think she’s a fabulous actress. I’m not altogether sure about the film but I did enjoy it, primarily because of her… she’s fantastic.”

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