When Shekhar Kapur is asked why he, as an Indian, made a film about Queen Elizabeth I, one of the most important rulers of England, the answer – as ever so often – might be that it was in his destiny. To make a film about culture that is so different from one’s own background requires a great deal of sensitivity. Yet history always depends on the interpretation of given facts and personal ideas always play a role in an interpretation. This could be one reason why Kapur’s Elizabeth and his interpretation of the queen’s development into the icon she is perceived as today, raised many voices of praise as well as criticism.
Elizabeth was an immediate success when it went on screen in 1998. Since then the film has been nominated for several awards and the ones that it received mostly valued the achievements of the director, the make-up artists and Cate Blanchett, who played the role of
Elizabeth I. Critics argued that the film “plays fast and loose with historical fact“ and the romance between Elizabeth and Robert Dudley is interpreted as reinforcement of “the idea of [Elizabeth] as a very weak and flighty character who often showed terrible judgment.”
The aim of this paper is to show that the development that Kapur’s Elizabeth goes through in the film is a preparation for the transition that takes places in the end. Relying on that, I would argue that the criticism about the mismatch of film and history in Kapur's Elizabeth is inappropriate.
To evaluate the validity of this thesis, relevant statements of the director and other persons that were involved in the making of the film shall be taken into consideration. Also the presentation of Elizabeth’s development in the film as such, especially concerning costumes and make-up, will be analysed. In the following the factors that Kapur suggest as reasons for Elizabeth’s change shall be examined and the director’s understanding of the concept surrounding the term ‘virginity’ will be clarified. Finally the results of this attempt to understand Kapur’s aims and his understanding of the development of the icon Elizabeth I. will be summarized in the conclusion.
Table of Contents
1. Introduction
2. Kapur’s intentions
3. Creating the icon of the ‚Virgin Queen’
3.1 Filmic display of Elizabeth’s development
3.2 Reasons Kapur provides for the change
4. The concept of virginity
5. Conclusion
Objectives and Research Focus
This paper examines how director Shekhar Kapur portrays the transformation of Elizabeth I into the iconic "Virgin Queen" in his 1998 film. It argues that the film should be analyzed as an interpretation of personality and character development rather than a strict historical document, demonstrating how costumes, make-up, and fictionalized plot points serve to illustrate Elizabeth's evolution from a vulnerable young woman into a powerful, emotionally detached ruler.
- Analysis of Shekhar Kapur's directorial intent regarding historical interpretation.
- Examination of the seven-stage development of Elizabeth's character.
- Exploration of the role of costumes and make-up as visual symbols of power.
- Investigation into the redefinition of "virginity" as a political and spiritual concept.
- Evaluation of the film's narrative strategies in the context of critical historical reception.
Excerpt from the Book
3.1 Filmic display of Elizabeth’s development
Stage one: England under the reign of Queen Mary / Young Elizabeth
Kapur introduces the young Princess Elizabeth by showing her dancing in the open countryside. This scene functions as a contrast to the dark surroundings in which Queen Mary has been introduced before and it also stresses Elizabeth’s liveliness and natural beauty. Her dress is very colourful and bright and except for very few other scenes in the film this is the only stage in which she wears her hair open. This, together with the fact that her dress still has quite a low neckline, could be interpreted as symbols for her youth but also for her awareness of her beauty and sexuality.
Corresponding to that, this is also the scene in which the audience learns that Elizabeth is in love with Robert Dudley. The two of them are shown dancing in a private setting and the way they move and obviously savour the moment intensifies the impression that they have a very sensual relationship. Reflecting the way how Elizabeth as a person is presented, it is important to mention that she often looks quite vulnerable and unsure in this stage. The viewer witnesses the unstable conditions under which Elizabeth has to spend the final days of her youth. Accused of treason, she is brought to the Tower, where she is close to being executed. It is conveyed that a conversation with her half-sister Mary allows her to return to Hatfield.
Summary of Chapters
1. Introduction: The introduction outlines the research aim to justify the film's artistic choices and presents the thesis that the narrative portrays a deliberate transition of character.
2. Kapur’s intentions: This chapter details the director's goal of interpreting Elizabeth's personality rather than strictly adhering to historical accuracy.
3. Creating the icon of the ‚Virgin Queen’: This section explores the stages of Elizabeth's development, analyzing how her physical appearance and internal struggles shape her iconographic status.
3.1 Filmic display of Elizabeth’s development: This subsection provides a detailed breakdown of the seven stages of Elizabeth's growth as depicted through filmic events and visual cues.
3.2 Reasons Kapur provides for the change: This subsection examines the primary factors, such as threats and betrayals, that Kapur identifies as catalysts for Elizabeth's transformation.
4. The concept of virginity: This chapter analyzes the director's shift from a physical definition of virginity to a political and spiritual one involving the "two bodies of the Queen."
5. Conclusion: The conclusion summarizes how the film effectively communicates the journey to iconicity and argues that critics often misjudge the film by focusing on historical accuracy instead of thematic intent.
Keywords
Shekhar Kapur, Elizabeth I, Virgin Queen, Film analysis, Character development, Iconography, Historical interpretation, Costumes, Political power, Virginity, Robert Dudley, Queen Mary, Transformation, Personality, Cinematic narrative.
Frequently Asked Questions
What is the core subject of this paper?
The paper focuses on how Shekhar Kapur's 1998 film "Elizabeth" interprets the transformation of Queen Elizabeth I into a historical icon.
What are the central thematic fields?
The themes include the conflict between personal desire and political duty, the use of visual symbolism in film, and the interpretation of historical figures in modern media.
What is the primary objective of the research?
The aim is to show that the development of Elizabeth's character in the film is a calculated process, making criticisms regarding historical inaccuracy largely irrelevant.
Which scientific method is applied?
The author performs a qualitative analysis of film scenes, focusing on directorial statements, visual elements like costumes, and thematic narrative structure.
What is covered in the main section?
The main section covers the seven stages of Elizabeth's evolution, the influence of political conspiracies, and the symbolic significance of her "virginity."
Which keywords define this work?
Key terms include Shekhar Kapur, Elizabeth I, Iconography, Character development, and Political virginity.
How does the director handle the concept of virginity in the film?
Kapur treats virginity not as a biological state, but as a political and spiritual transition where Elizabeth sheds her personal life to serve her country.
Why does the paper argue that the love affair with Dudley is important?
The affair is used as a narrative tool to contrast Elizabeth's maturation with Dudley's lack of development, ultimately highlighting her sacrifice of personal happiness for the throne.
What role do the flashbacks play in the film?
The flashbacks serve to summarize the traumatic events and pressures—such as betrayal and threats—that finally drive Elizabeth to leave her former life behind.
- Quote paper
- Janine Börstler (Author), 2010, Presenting the creation of an icon - Shekhar Kapur’s "Elizabeth", Munich, GRIN Verlag, https://www.grin.com/document/176043
