In 1953, the world public was captivated by the rare spectacle of a young Queen Elizabeth II being crowned. MGM, the Hollywood studio at the peak of its power, skilfully exploited this publicity by launching Young Bess, a large‑budget romantic biopic about Elizabeth's famous predecessor and namesake, directed by George Sidney. The film was based on the best‑selling eponymous 1944 novel by Margaret Irwin, the first in a trilogy dedicated to the young Queen Elizabeth I, lauded for being a product of meticulous historical research.
The plot begins on 17 November 1558, the day of Elizabeth's accession to the throne, and then, through memories of her loyal governess Kat Ashley (played by Kay Walsh) and Sir Thomas Parry (played by Cecil Kellaway), delves into flashbacks of her childhood, growing up under the shadow of her whimsical and tyrannical father, King Henry VIII (played by Charles Laughton). Being the daughter of Henry’s ill‑fated second wife Anne Boleyn, she keeps falling out of and returning to the King’s favour, with those experiences making her into a shrewd, perceptive and independent young woman (played by Jean Simmons).
When Henry dies, he is succeeded on the throne by Elizabeth’s young stepbrother Edward (played by Rex Thompson), but the real power lies with the regency council led by Edward’s ambitious and ruthless uncle Edward “Ned” Seymour (played by Guy Rolfe). Elizabeth has begun to develop romantic feelings for Ned’s brother Thomas Seymour (played by Stewart Granger), a dashing admiral, but, much to her dismay, she discovers that Thomas has been having a long affair with Catherine Parr (played by Deborah Kerr), Henry’s widow and her stepmother, who also happened to be Elizabeth’s good friend.
Elizabeth I was one of the most extraordinary and consequential monarchs in English and world history, and, as such, has provided ample material for screen depictions of her life and reign from the very start of cinema. The 1953 adaptation, on the other hand, focuses on a relatively limited, but mostly melodramatic, segment of her life, particularly her relationship with Thomas Seymour. This results in the script by Jan Lustig and Arthur Wimperis simplifying historical events and relationships, with Elizabeth’s predecessor Mary I (played by Ann Tyrrell) being reduced to a silent cameo, Catherine’s pregnancy and child being written out, and Thomas Seymour’s conduct towards the 14‑year‑old princess, considered scandalous and inappropriate even by his contemporaries, being bowdlerised into a more acceptable romance, in line with the censorship standards of the MPAA Production Code.
On the other hand, Young Bess benefits from a large MGM budget, Technicolor cinematography, and a Tudor period‑influenced music score by Miklós Rózsa. The direction by George Sidney, though unimaginative and workmanlike, contributes to the film's old‑school Hollywood charm. The standout feature of Young Bess is its cast, with Jean Simmons delivering a compelling performance as the future queen. She has good chemistry with Stewart Granger, which isn’t surprising because the two of them were real‑life spouses during production. Noteworthy performances also come from the supporting cast, like child actor Rex Thompson, who convincingly portrays King Edward VI with a British accent despite being a native New Yorker, or Charles Laughton who reprises his Oscar‑winning role from The Private Life of Henry VIII from two decades earlier.
While Young Bess may not meet the standards set by later Tudor or Elizabethan dramas, such as those produced by the BBC, it succeeds as an entertaining period piece, showcasing the glamour and allure of old Hollywood filmmaking.
RATING: 6/10 (++)
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