The Private Lives of Elizabeth and Essex (Warner Bros.) (1939)

SLORY OT NOPSIS (Not for Publication) On the throne of England sits the red-headed, bewitching, imperious Tudor wench, Elizabeth (Bette Davis) and around her rages the intrigue of her courtiers, all plotting for her favor and their own glory. But her royal heart belongs to the dashing young Earl of Essex (Errol Flynn), as handsome and gallant a knight as ever kissed a lady's hand. The path of true love runs anything but smoothly for the royal pair, however, for their quarrels are as violent as their love-making is tender. In his arms she. is just a woman in love, but in affairs of state, she is first of all a queen, jealously guarding her throne. The lords and ladies of the court, too, do their bit in strewing the lovers’ paths with obstacles, and when Essex goes off to Ireland to subdue the rebels, a neatly diabolical plot arranged by his not-so-well-wishers intercepts all letters between him and the Queen. Furious at being neglected, she orders him back. Essex, equally outraged, returns to England with his army and captures the palace. A few moments alone together, however, and the whole misunderstanding is cleared up and Essex disbands his army. Immediately, the woman he loves orders him taken prisoner, to be executed for treason. For the moment, the woman is subordinate to the Queen. She soon relents, however, and offers to share her heart and throne with him, but he chooses pride—and the executioner's block. (Running Time—106 Min.) Mat 203—30c "BUT | LOVE YOU MORE" insists Olivia de Havilland, who vies with Bette Davis for Errol Flynn's love in ‘The Private Lives of Elizabeth and Essex," Warner Bros.’ Technicolor production which is currently showing at the Strand. Flynn Grateful to Hollywood — Thinks He'll Stay Around By ERROL FLYNN (Currently co-starring with Bette Davis in “The Private Lives of Elizabeth and Essex,” the Warner Bros. Technicolor film at the Strand) In my time I’ve been accused of a lot of things that weren’t true, but the accusation that rankles most is one that has come to me second-hand quite often recently. I’m told that certain people— I don’t know who they are—say I’m ungrateful to Hollywood. I’d like to correct that impression right now, for nothing could be farther from the truth. 111 am deeply grateful to Holly was wood, not only for the material | 'INSIDE' STORY on PRODUCTION Going behind the scenes of the Warner Bros.’ Technicolor production "The Private Lives of Elizabeth and Essex"'—it was directed by Michael Curtiz, director of such films as "The Adventures of Robin Hood," "The Sisters,’ "Four Daughters'’ and many others. Norman Reilly Raine and Aeneas MacKenzie wrote the screen play which was based on the Maxwell Anderson play "Elizabeth the Queen,'' produced by the Theatre Guild, Inc. with Alfred Lunt and Lynn Fontanne in the starring roles. The symphonic musical score which accompanies the film was written by Erich Wolfgang Korngold who did the score for '"A Midsummer Night's Dream." A full year of research, under the direction of Dr. Herman Lissauer, on costumes, manners, furnishings and buildings of Elizabethan England resulted in making the picture authentic in every detail. Drawings of Elizabeth's palace, Whitehall, which was destroyed by fire in 1666, were obtained from the British government, and from these a large portion of it was reconstructed on a great sound stage. Other prominent sets include interiors and exteriors of the great Tower of London, numerous London streets, and an Irish bog in which the great battle scene is staged. Orry-Kelly, Warner Bros.’ designer, predicts that the costumes will launch the return of a trend toward rich fabrics, lavish embroideries, voluminous sleeves and massive jewelry. things it has given me but also for the physical peace it has brought to me for the first time in my life. I find that the desire to roam is not nearly so keen in my system as it was four years ago. I’m much more content to stay home and relax in California’s pleasant sunshine than I was four years ago. I’ve discovered that there are a lot of interesting things to do besides tearing madly to the four corners of the earth in a constant search for a vague something that I never found. Aside from the greatly lessened strain on my nervous system, Hollywood has been good to me in a material way; almost too good to be true, and looking backward I sometimes hardly dare believe that events of the last four years have not been part of a wonderful dream. I was reminded of the past rather joltingly a few days ago while we were filming “The Private Lives of Elizabeth and Essex.” We were working out on the Warner back lot and I walked over to have a talk with Mike Curtiz, the director, about a scene. Mike was in a reminiscent mood—rather unusual for this fellow who never seems to think about anything but his picture and his work. He was gazing off toward the studio lake and I followed his glance. There, almost hidden by a set on the bank, was the hulk of an old Spanish galleon. “You remember her, Earl?” Mike has never mastered my first name. I remembered. She was the good ship Arabella. She had served me well three and one half years ago as my pirate flagship in my first major American picture: “Captain Blood.” What memories the sight of the grimy, battered old hulk brought back! “Captain Blood.” It seemed centuries ago that I’d walked her decks and the sight of her was a visible reminder that those same decks were largely responsible for the fact that I could now stroll the teakwood deck of the finest little yacht afloat, my own 75-foot ketch, Sirocco. The Sirocco was bought and paid for with good hard American money that Hollywood had given me. But enough of the Arabella and “Captain Blood.” They represented the beginning of a phase of my life that has given me things I never hoped to possess. I have a small but comfortable home now. I have a nice piece of property way up on top of the Hollywood hills where I’m going to build a larger place some day. I have dogs and horses. I have my boat. I have two automobiles and a station wagon. I lead a very pleasant and comfortable life. I don’t care much about clothes, but I can have the best if I want them. Most important, I have more friends, I think, than ever before in my life! Donald Crisp as Bacon Donald Crisp did a classic burn on account of the new nickname Director Michael Curtiz hung on him the first day of shooting on “The Private Lives of Elizabeth and Essex.” Don wears a golden wig as Sir Francis Bacon. Mike addressed hoiem ans Mat 101—15c “Goldilocks” Basibaities and the name tc jy. gthek.t: The stars, Bette Davis and Errol Flynn, as well as the large supporting cast, took up the nickname, and Crisp was “Goldilocks” throughout the rest of the weeks of production.