 Who does the author seem to appreciate the most in Meet Joe Black?
Warrior Queens Elizabeth is a lurid paraphrase of the old Groucho Marx line about Doris Day: "I knew the Virgin Queen before she was a virgin." As the movie tells it, she was a sylvan, redheaded princess (Cate Blanchett) given to gamboling with her fella (Joseph Fiennes) between periods of internment in the Tower of London on charges of conspiring to overthrow her half-sister, the heatedly Catholic Queen Mary (Kathy Burke). The daughter of the second wife of Henry VIII, Anne Boleyn, and therefore dubbed a bastard by the papists, the Protestant Elizabeth ascends the throne to find the air still thick with smoke from roasted heretics, a team of skulking Catholics plotting her assassination, and a council of advisers (lords, bishops, sundry old boys) who snigger openly at the prospect of taking orders from a woman. Only a strategic marriage to a Spaniard or a Frenchman will mollify all factions, her advisers insist, but the pickings prove dismal. (Her French suitor enjoys wearing dresses.) After skulls are smashed, throats slit, and bosoms skewered in the name of Christ, Elizabeth decides to: a) "unsex" herself and become a symbol--the Virgin Queen, married only to England; and b) entertain dissenting opinions exclusively from those whose heads are affixed to spikes. You can't be both a queenly queen and a womanly woman, says the script (by Michael Hirst)--at least not in 1554. (The director, Shekhar Kapur, made the same point in his grim 1994 Indian epic The Bandit Queen , against a backdrop of scrubby plains along the Ganges.) Is this feminist take historically accurate? Probably, although the evidence suggests that Elizabeth had developed a head for stratagems earlier in life (her position had been precarious since the beheading of her mother) and came to the throne with few girlish illusions about How Things Work in a barbarous state. That said, the movie's approach makes for juicy melodrama. The tone of Elizabeth comes nearer to the nihilistic relish of Jacobeans such as John Ford and John Webster than to the more sorrowful horror of the Elizabethan dramatists Ben Jonson and William Shakespeare.
 Claire Forlani
 Martin Brest  Bo Goldman  Brad Pitt  Claire Forlani