Film

The Private Lives of Elizabeth and Essex

Bette Davis commands the screen as Elizabeth I in this 1939 Technicolor swoon, built around her tempestuous affair with Errol Flynn's Essex. It's operatic, lustful, and gorgeously mounted—a Hollywood imagining of power and passion where romantic melodrama outweighs historical accuracy. For anyone who loves old Hollywood stars doing their absolute best in lavish costume drama.

TMDb rating3.2

Should you watch it?

Watch it if you like period romances built on sharp dialogue and a rivalry between two strong-willed people, where the costumes and stagecraft matter as much as the history.

Skip it if you want history treated with care, since this takes plenty of liberties with fact and its theatrics can feel dated to modern eyes.

What it asks of you: Expect a talky, unhurried film where the big emotional beats arrive through long conversations and glances rather than action, and where you need to keep track of a crowded court.

If you liked this

Becket1964

Peter O'Toole and Richard Burton lock horns over church and crown in this intelligent, beautifully spoken drama about duty versus desire. The dialogue crackles and both actors are at their best.

But It's talky and philosophical rather than romantic, and lacks the visual spectacle and emotional melodrama that might hook you immediately.

Becket poster

Mary Queen of Scots2018

Saoirse Ronan and Margot Robbie give fierce, intimate performances as two queens whose lives mirror and oppose each other. It's political intrigue with genuine sexual tension and real stakes.

But The politics can tangle and the script sometimes prioritizes style over clarity. Some find it overwrought in places.

Mary Queen of Scots poster

The Tudors2007

Jonathan Rhys Meyers blazes as Henry VIII across four seasons of palace intrigue, seduction, betrayal, and blood. It's everything *Elizabeth and Essex* promises but stretched over time with room to breathe and plot.

But It's campy and loose with history, occasionally gratuitously violent, and some supporting performances are uneven. It knows what it is but doesn't always nail it.

The Tudors poster

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The wildcard

Something you would not have found on your own.

Les Misérables1935

Both are Technicolor-era costume dramas obsessed with the gap between power's appearance and its reality, and both use romantic entanglement as a lens to examine obligation and duty.

This French classic predates the musical, and it's something else entirely: raw, political, sweeping across decades of social collapse. Fredric March and Charles Laughton anchor it with performances of staggering depth.

But It's 210 minutes, in French, and the politics are as important as the story. Modern audiences sometimes find the pacing glacial and the heroism unfamiliar.

Les Misérables poster
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Scaramouche1952

Stewart Granger is a charmer in this swashbuckling romp through revolution and seduction. It has the same spirit of fun, costume, and romantic scheming without pretending to be anything more.

But It's frivolous and the plot is thin. If you want substance, this won't deliver it.

Scaramouche poster

Anna and the King1999

Jodie Foster and Yul Brynner (in his final performance) circle each other across culture and power in this sumptuous film about two strong-willed people in an impossible situation. Beautifully made.

But The romance overwhelms the politics and the film softens the real historical tensions. It can feel like historical fanfiction.

Anna and the King poster

The Favourite2018

Olivia Colman's Queen Anne is petulant, needy, and magnetic—surrounded by women competing for her affection in a palace full of desire and manipulation. A darkly comic take on power's loneliness.

But It's arch and deliberately stylized, sometimes to the point of distraction. The humor is cold and the characters are not sympathetic.

The Favourite poster

Marie Antoinette2006

Sofia Coppola gives us a teenage queen drowning in luxury and loneliness, using anachronistic pop soundtracks and candy-colored excess. It's visually stunning and emotionally acute.

But The lack of traditional historical framework bothers some viewers. It's more mood and mood than plot, and the ending is inevitable sadness.

Marie Antoinette poster

The Other Boleyn Girl2008

Natalie Portman and Scarlett Johansson play sisters caught in Henry VIII's orbit in this tense, sexy historical melodrama. Court politics, family betrayal, and genuine danger crackle through it.

But It rewrites history so aggressively that what's true and what's invented becomes murky. Some find it silly rather than dramatic.

The Other Boleyn Girl poster

Fire Over England1937

Laurence Olivier and Flora Robson play in this earlier Elizabethan adventure film, very much in the same vein as *Elizabeth and Essex*—patriotic, romantic, and visually rich.

But It's less polished and less famous than *Elizabeth and Essex* for good reason. The pacing is uneven and some scenes drag.

Fire Over England poster

Elizabeth R1971

The exact inverse: where *Elizabeth and Essex* gives us the queen as lover, *Elizabeth R* gives us the price of choosing crown over heart—the same woman, the same choice, seen from the opposite shore.

Six BBC television plays starring Glenda Jackson as Elizabeth I across her entire reign—not romance, but monarchy as lonely, cunning, endless work. Jackson is extraordinary, and you see Elizabeth as she lived: strategic, aging, abandoned.

But It's unglamorous and difficult. No heroes, no grand love, just a woman protecting power through isolation. After *Elizabeth and Essex*, this might feel bleak.

Elizabeth R poster

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