User reviews

Never mind about the historical accuracy, the movie is very enjoyable as a great love story. It is well written and elegantly portrayed by a good assemble of actors. Simmons is excellent as Young Bess, a smart and strong minded princess growing from adolescence into young womanhood, falling for a much older heroic Admiral, attracting his love from his beautiful and tender loving wife. Granger is a great match as Simmon's lover, the arrogant adventurous war hero, also the loving husband of the more classical beauty Kerr. The love triangle between the three is convincing and moving, and its tragic end is heart broken.

The costume is wonderful, especially of Granger's.

The tale is told in flashback by her former governess Catherine Ashley (Kay Walsh), just before Bess' Coronation ceremony. Film follows Bess from birth to her falling in love with another woman's husband through Court politics and treachery.

Charles Laughton is good, if somewhat hammy, as King Henry VIII. His deathbed scene takes forever.

Deborah Kerr is OK as the rather frail Katharine Parr, sixth wife of Henry VIII; she looks too healthy and pretty to be ill. Apparently, she's afflicted with a dread disease that leaves her looking lovely, with perfect make-up, not a hair out of place and in soft focus, while it kills. Actually, Parr died in childbirth after becoming immediately pregnant with Thomas Seymour's child after her marriage, while her four year marriage to Henry produced no offspring. This rather puts to bed (pardon the saying) Henry's affirmation that Henry was virile and sexually active up to his death. But I digress. Stewart Granger's Thomas Seymour is appropriately heroic and apparently gifted with second sight. It's too bad he wasn't gifted with two heads.

Simmons is very good in the title role. Her voice has the commanding tones of one accustomed to being obeyed, and she convincingly ages from around ten to age 25. She is the best part of the film.

Director George Sidney uses a subtle and effective trick to get the viewer on Simmons' side. In her scenes, the furniture is immense (in one scene, she sits in a chair that is twice her size), suggesting that Bess is dwarfed by the events taking place around her.

The film received well deserved Oscar nominations for Best Art Direction and Costumes. "Young Bess" is a good showcase for Simmons' acting talents.

"Young Bess" features three of the greatest English actors of all time :Jean Simmons,Stewart Granger and Deborah Kerr;the two actresses had already teamed up for "black narcissus" but in "young Bess" it's Simmons who plays the lead .

The movie does not really show it,but Elizabeth had a very harsh childhood ,unlike Mary Stuart ,her dear cousin who spent her youth in the sweet Chateaux de La Loire in France .That may explain why Elizabeth was prepared to reign and Mary failed dismally. It was a wonder she kept her head after all those years with Mary Tudor.But Jean Simmons succeeds in her performance:from a romantic young girl to the strong queen (the big shadow on the wall is revealing),she runs the whole gamut and she gets strong support from Stewart Granger as her dashing attentive escort ,from Deborah Kerr ,in an underwritten part, and from Charles Laughton,ideally cast as Henry the Eighth.

This is an entertaining movie and not a documentary. So, why not show "how it could have happened". This is what makes history interesting and exciting. The story is very well written, the actors are superb. And there is this sparkling chemistry between Jean Simmons, Stewart Granger and Deborah Kerr I miss so much in modern movies. This is GOOD OLD HOLLYWOOD (even it is mostly a british movie). I hope that in the near future somebody produces a good DVD!! This movie is one of my all time favorites!!

Maybe not quite how it actually happened, but this was Hollywood, remember. Jean Simmons plays the Princess Elizabeth brought up in rags and riches depending on the whim of her father Henry VIII (rather rumbustiously played by Charles Laughton). Meantime Thomas Seymour (a handsome, swashbuckling rogue played by Stewart Granger) is marrying Henry's widow Catherine Parr (Deborah Kerr) and so we have our menage-a-trois. History is fact about the marriage; much less so about the "love affair" between Elizabeth and Seymour. This film follows her coming-of-age as she navigates the political intrigues after her father's death. It's is colourful and engaging - her two servants add quite a lot too. It's entertainment though, nothing too educational.

This is what happens when a film studio and a novelist places history on the big screen. Historical accuracy and truth takes second place when it comes to spinning a yarn. I just hope when kids watch this film, they do not rely on it as facts for their education. The real story itself was intriguing enough without having to bend the truth. So, why did they?

Anyway, in the film, Elizabeth (I) was madly in love with Thomas Seymour. From historical records, Thomas was supposedly the person who made advances on Elizabeth (I) but was unsuccessful. In the film, Edward Seymour was seen as a callous power hungry puppeteer in the royal court. In history, he was a successful military man when he battled oppositions at Pinkie, Scotland (1547). Edward was also responsible for religious reforms and in relaxing heresy and treason laws. In the film, he sent his brother Thomas to the scaffold because of his paranoia over power struggle threats. In history, the execution of Thomas by the council in 1549 was a significant blow to Edward and it weakened his power in England. The eventual arrest and execution of Edward in 1552 was conspired by John Dudley, Earl of Warwick and Thomas Wriothesley, Earl of Southampton to remove Seymour's protectorate power over his nephew, King Edward VI. Edward VI died at the age of 15 in 1553. Dudley induced the council to proclaim his daughter-in-law, Lady Jane Grey, as queen after Edward VI's death. Dudley was executed in 1554 by Mary (I) for treason.

Of course, there's no way of knowing precisely what really happened in history. But in rationale, a person should not be defamed or condemned (as in the case of Edward Seymour) based on hearsay, idle gossip, a romantic novel or a chick flick, even if they are dead over a few centuries. In theory, anyhow.

Anyway, I did enjoy this film as pure entertainment. Walter Plunkett's costume design was magnificent and the whole cast was superb. Miklos Rozsa's emotional music score was an incredible soul wrenching delight.

Is it worth seeing? Yes, definitely! It's entertaining, well acted and beautifully produced.

This is a splendidly-mounted production by anyone's standards; arguably it is the best realization of the pre-Elizabethan, the late Marian period ever realized on film.   But despite its modest beginnings as a fictionalized biography of Elizabeth Tudor by popular author Margaret Irwin, the screenplay by Jan Lustig and Arthur Wimperis also adds another dramatic dimension to a well-told story.  The subject in this work is the dangerous, difficult and famous youth of the future Elizabeth Ist of England, taking her from childhood to her accession to the throne after the death of her sister Bloody Mary, who reigned following the death both of King Henry VII and his frail son and heir Arthur, who died at 12 years of age.  George Sidney directed this dignified and powerful story;  and the assembled cast he presented were well-chosen as speakers of the English language:  Jean Simmons playing the young Elizabeth with unusual intelligence and verve; Cecil Kellaway as the loyal warder who looks after her modest household as a princess out of favor;  Charles Laughton reveling in his bravura role as the irascible and fascinating Henry VIII;  Stewart Granger and Guy Rolfe playing the rival brothers who wrestle for control of England's political direction; Deborah Kerr as the King's last wife, gentle an d lovely Catherine Parr; also prominently featured were Kathleen Byron, Kay Walsh, young Rex Thompson as Edward, Elaine Stewart, Dawn Addams, Ivan Triesault, Lumsden Hare, Leo G. Carroll, Doris Lloyd, Norma Varden, Alan Napier, Robert Arthur and Lester Mathews. The plot-line concerns Elizabeth's attempts to survive the shifting fortunes of the English court; powerless, except for the loyalty of a few noblemen, her greatest danger comes from the handsome and ambitious Thomas Seymour (Granger); the script treats his regard for Elizabeth as political, which is not historical; by attaching himself to the queen of the late King Henry, he becomes so dangerous his unpleasantly Establishment and puritanical brother Edward must move against him. from this loss, Elizabeth is fortunate to emerge alive and, at last, queen of England; but this is a moving film that touches on her relative poverty, fears, learning, arguments with her father, disappointment when Edward who loves her dies, and her last danger in the Seymour's quarrel. The emotionally rich film is superbly served in my estimation by Miklos Rozsa's memorable score. With bright cinematography by Charles Rosher, brilliant art direction by Cedric Gibbons and Urie McCleary, set decorations by Jack D, Moore and Edwin Willis and gorgeous costumes by Walter Punkett, the film is very attractive to watch in every scene. Sydney Guilaroff's hairstylings, William Tuttle's makeup and Douglas Shearer's sound work are all first-rate as well. The best scene in the film to many minds is the argument aboard a ship between the volatile Henry Tudor and his equally spirited daughter; but this is a very good film, on the verge of being a great one, thanks to director Sidney's solid presentation of every scene of the material. I recommend it highly, if not as literal history then as a colorful, thoughtful and satisfying entertainment.

When I get the chance to view some films from the 1950's, I usually enjoy the great veteran actors and the film story. This film is great because of the great actors like Jean Simmons, (Young Bess/Queen Elizabeth l),"Winter Solstice",'03 TV, who plays a very dramatic role and tries to follow in her fathers footsteps, Charles Laughton,(King Henry VIII),"Advise & Consent",'62, who gives a rather brief performance, but outstanding. Stewart Granger,(Thomas Seymour), plays an Admiral of the English Fleet and is simply adored by Young Bess, who really has the red hots for him since she was a child. Deborah Kerr,(Catherine Parr),"The Arrangement",'61, gets her claws into Thomas Seymour and simply will not let go and there is a bad relation between Catherine and Young Bess. While this film was being produced, Jean Simmons was married in real life to Stewart Granger, and I can see why their kisses appeared so very real and warm. Good Classic film, but rather slow and boring in places.

In the same year as she made The Actress, Jean Simmons also made Young Bess, but neither casting made any sense. In The Actress, she portrayed the homely Ruth Gordon. In this one, she plays a pre-queen Elizabeth I, who was never known for her beauty. Why cast Jean Simmons in these parts? Deborah Kerr costars in Young Bess, and she would have been a far better choice for the red-headed royal. Jean's auburn rinse in her hair is far from convincing.

Her attitude was also far from convincing. When Bette Davis took on the same role in her 1939 biopic, it was clear she came from royal blood. Jean came across as a common, spoiled brat, not as someone who took frequent visits to the palace to spend time with her father, the king. She didn't hold herself or talk in any way of elevated status. I didn't believe for one minute she was Elizabeth I, but instead a highly irritating teenager with a crush on someone who didn't like her back. Her object of affection is Stewart Granger, but he wishes to marry Deborah Kerr.

I'm really not a Deborah Kerr fan, and this movie is one of the reasons why I never liked her. Just as she was in Julius Caesar, she rattled off her lines quickly to seem impressive, but without any feeling to communicate she knew what she was saying. As far as I was concerned, Deb and Stewart deserved each other.

Charles Laughton reprises his role (briefly) as King Henry VIII, and while it's fun to see him add presence to the screen, he's not enough to save the movie. Neither is Rex Thompson, an absolutely doll in his first movie as the young prince. The other three leads ruin it. If I'd only seen Jean Simmons's movies from 1953, I wouldn't like her at all.

With an exceptionally good cast headed by Jean Simmons, Stewart Granger, Deborah Kerr and Charles Laughton, costumes by Walter Plunkett, music by Miklos Rozsa and all the technical wizardry of MGM's vast resources, YOUNG BESS is the kind of historical romance that comes to life on the screen with a good deal of vitality. Jean Simmons and Charles Laughton have the most interesting roles and play them brilliantly, particularly Laughton who is once again portraying Henry VIII, the shrewd monarch who disposed of the women in his life by putting them to the block.

The screenplay is gracefully written and although it is leisurely paced, it never lets up interest in examining the relationships between Elizabeth I (young Bess) and others at court. Historical purists will object to whatever liberties the novel took to tell this story of court intrigue, but they will be impressed by the attention paid to historical detail and the meticulous settings and costumes. The score by Miklos Rozsa is not obtrusive and yet it underlines the deep emotions portrayed by Simmons, Granger and Laughton. Deborah Kerr has a rather colorless and almost minor role as Catherine Parr and is unable to do much with it although she and Simmons photograph beautifully in color.

Easy on the eyes and a very entertaining saga of a bloody chapter in England's history.

Historical facts are very difficult to draw in films. I think that this material tried to present some features of lives of Elizabeth (Jean Simmons, his father and the members of the council once his father, the cruel King Henry VIII (Charles Laughton), died. The plot went through the love triangle of Bess and Catherine Parr (Deborah Kerr) with Thomas Seymour (Stewart Granger), a man loyal to the King but very much in love with Catherine and then with Elizabeth. It was clear that the council was doing everything possible to keep Elizabeth away from the throne, something that happened at the end of the film suddenly and without much explanation. At least someone like me, not knowing well this story, finished with several questions, whether her brother (the successor to the throne) died?, what happened to Ned Seymour?, the main instigator of the assassination of his brother Tom and the main one avoiding Bess to govern. May be with more complete plot and perhaps time for the film, this story may have looked much better than it is.

When it comes to Brit royalty, as the recent death of the title character's successor has shown, Americans are nearly as besotted as their English cousins. And, to carry the analogy a bit further, Hollywood films on this subject are almost as good as their UK counterparts. This 1953 offering from MGM is typical of the genre, a watchable, entertaining hour and forty five minutes that is poised somewhere between a dynastic drama and an heraldic soap opera. Director George Sidney, kind of a poor man's Mervin Le Roy, shows his usual liveliness and pacing skills despite having to deal with fairly somber material as well as interestingly noirish cinematography from DP Charles Rosher. In this difficult task Sidney is aided immeasurably by a screenplay from Arthur Wimperis and Jan Lustig that knows it is adapting a romantic best seller and that it is probably not a good idea to take it overly seriously, as well as solid performances from Simmons, Laughton, Granger and Kerr and a turn from child actor, Rex Thompson, as alternately bratty and poignant Edward the sixth that nearly steals the show, in my opinion. Give it a B minus.

PS...To those who grouse about this film's lack of historical accuracy I would simply say: If you want accuracy, read J. E. Neale. Or go to a rifle range!

A handsome drama about the young womanhood of Elizabeth I before she ascends to the throne. Not surprisingly for a movie from 1953, the filmmakers don't know what to do with this story other than turn it into a swoony romance. But Jean Simmons is compelling and feisty in the title role, and really good actors like Deborah Kerr, Stewart Granger, and Charles Laughton prevent this from becoming just one more stiff costume drama from a decade that produced them ad nauseum.

The film received Oscar nominations for Art Direction and Costume Design, both in the color categories.

Grade: B+

I don't expect or even want precise historicity in a costume drama, so I love this beautifully-filmed production. Did anybody else find Rex Thompson's portrayal of Edward, the little king, as remarkable as I did? Rex was only 11 at the time, and no matter how visionary the director, how plausible the writing or how facile the film editor, it takes real brilliance for a person that young to perform so believably. He perfectly reproduced Laughton's characterizations of Henry VIII in miniature, and was as matter-of-dactyl bloodthirsty as Henry ("I wish he'd die," he remarks about his "Oncle Ned," seeing nothing untoward about it). He worked again with Deborah Kerr playing Louis in "The King and I." He was "The Page" in the Hallmark Hall of Fame production of the same name in 1966, but there are no later entries about him on this site. Also, no death date, which I'm glad to see...was he one of those unfortunate child actors who was robbed blind by unscrupulous relatives/agents/investors? Did he just get sick of the grind and chuck it all? Or did he change his name and vocation? I would have liked to have seen him as an adult. He was such an appealing child!

That 'Young Bess' is based on one of the most fascinating periods in history and that it had a lot of talent involved are reasons enough to watch it.

Once you get past the fact, if you can, that the events in 'Young Bess' are heavily fictionalised and romanticized, it really does charm and entertain (or at least to this reviewer it did). Historians will despair at the number of liberties taken with the facts, as there is a complete disregard with them to the extent that history is literally rewritten, but taken on its own terms as a film 'Young Bess' does have quite a lot to like.

Sure, there are flaws. The dialogue occasionally rambles and the character of Catherine Parr in terms of writing is underdeveloped and underused. And it did feel like it could have been 10 minutes longer to give more completeness to the story and make it clear(er) what happened to the characters for anybody who don't have knowledge of Elizabeth's early life, because it did seem a touch incomplete at the end (those who are not so familiar with this period of history especially will find this so). Otherwise, 'Young Bess' has more strengths than it has flaws.

As with many films from the 50s it looks fantastic , with lavish and meticulously evocative costumes and sets and sumptuous and rich in colour cinematography. Miklos Rosza's score is stirringly orchestrated, melodically opulent, emotion-filled, really resonates with the soul and fits beautifully without ever getting intrusive or repetitive. Apart from the odd rambling spot the script is written with wit and grace, the story is without a dull stretch and is told with poignancy and charm (it helps that the chemistry between Jean Simmons and Stewart Granger, married at the time, is full of emotion without being heavy-handed) and George Sidney's direction is assured and meticulous, ensuring that the film never dissolves into unintentional cam p or cheesiness like it could easily have done in lesser hands.

Jean Simmons plays Elizabeth with plenty of spirit and passion, not descending into the trap of being overwrought, while Stewart Granger conveys Seymour's tragedy (in this film that is) in a way that's moving and never wooden. Their chemistry is very genuine and doesn't ever make the film sink into overwrought melodrama, and they are very well supported by Guy Rolfe's conniving Edward Ned, Deborah Kerr's compassionate Catherine, Rex Thompson's stately and remarkably mature Prince Edward and particularly Charles Laughton's ideally cast Henry (a welcome reprisal from his performance, one of his best ever, in 'The Private Life of Henry VIII'). Smaller roles are solidly taken by a dignified Kay Walsh, charming Dawn Addams, jovial Cecil Kelloway and authoritative Leo G. Carroll.

In conclusion, very charming and entertaining on its own merits (which I've always found a much fairer way to judge), but if you're wanting historical accuracy look elsewhere. 7.5/10 Bethany Cox

How many films have been made about Alfred the Great, the only English monarch with the nickname "the Great". Only one, made in the 1960s I believe. There is, to my knowledge no film about William the Conqueror and the Battle of Hastings, although there are at least six versions of Shakespeare's MACBETH (who was William's contemporary monarch in Scotland!).

There is one film about the Normans of William's time - THE WARLORD (1965) with Charleton Heston and Richard Boone. It's a very good film, but it never shows William. No films about St. Edward the Confessor, Ethelred the Unready, William Rufus, or Hardecanute (remember the Danish Viking ruler of England who whipped the disobedient waves of the Channel).

The first major English monarch who is made the subject of a big film is Henry II, the role played (both times) by Peter O'Toole in BECKET and THE LION IN WINTER. Significantly his two roles stem from two major plays of the 1950s and 1960s. His son Richard I ("the Lion-Hearted") appears in THE LION IN WINTER, but earlier films included THE CRUSADES, ROBIN HOOD, IVANHOE, KING RICHARD AND THE CRUSADERS, and ROBIN AND MARION. Richard is really the first English monarch to appear in more than just a couple of films - but notice, even though he is a central figure the films tend to deal with the Third Crusade he helped to lead, or the machinations of his brother "Prince John", or the possibly fictional figure of Robin, Earl of Locksley (known as "Robin Hood"). While THE CRUSADES and KING RICHARD AND THE CRUSADERS deal with him and Berengaria (his wife), and try to build a romantic and chivalric triangle between them and Saladin, the actual sexual interests of Richard seem to be closer to the performance of Anthony Hopkins in THE LION IN WINTER.

Oddly there is no film about King John and his failure to control his nobles (not even a film version of Shakespeare's historic play, although a television movie version was made starring Leonard Rossiter as John in the 1980s - but the BBC were filming the entire series of the plays). Nor of the fights led by Simon De Montford against Henry III that led to the creation of the House of Commons. Occasional films pick up on a few monarchs - BRAVEHEART giving a look at Edward I and his witless son; Christopher Marlowe's EDWARD II showing what happened to the witless son; CHIMES AT MIDNIGHT being Orson Welles's take on Henry IV and Prince Hal (but concentrating on Sir John Falstaff); and both Olivier and Branagh dealing with HENRY V in two startling great and different interpretations. Then there is another biggie: Old Crookback - RICHARD III in Olivier's production set in the 1470s and 1480s, or the version by Sir Ian McKellan set in the 1930s, or TOWER OF London with Rathbone (a distinctive Richard) abetted by Karloff, and then a version with Vincent Price (who was Clarence in TOWER OF London).

This brings us to the champs of British Royals in film - the Tudors. Henry VII always pops up in the Richard films (he has to - he wins at Bosworth Field). Yet no film specifically about Henry VII has been made. Not so Henry VIII, Edward VI, Jane Gray, and Elizabeth (not much for "Bloody Mary") though. THE PRIVATE LIFE OF HENRY VIII, THE SIX WIVES OF HENRY VIII, A MAN FOR ALL SEASONS, ANNE OF A THOUSAND DAYS, THE PRINCE AND THE PAUPER (at least 3 versions, including one called CROSSED SWORDS), YOUNG BESS, SIX DAY QUEEN, ELIZABETH, MARY OF Scotland (Mary, Queen of Scots, was Henry VIII's niece), MARY, QUEEN OF SCOTS, THE VIRGIN QUEEN, THE SEA HAWK, FIRE OVER ENGLAND, THE PRIVATE LIVES OF ELIZABETH AND ESSEX / ELIZABETH THE QUEEN, Shakespeare IN LOVE. No other British Royal Family has been as chronicled in films as the Tudors. Think of it. Charles I was the center of so much turmoil that he eventually was executed after a trial following a series of Civil Wars he lost to Oliver Cromwell. Only one film about him was made - and a bad one - CROMWELL (emphasizing the victor of those wars). But the Tudors generate more interest - there is more skulduggery and treason in their reigns than most, and England becomes a great nation (and a cultural fountainhead) at the end of it all.

YOUNG BESS is a small joy - it deals with the forgotten career of Admiral Thomas Seymour, uncle of King Edward VI, and would-be romantic wooer of Princess Elizabeth. He also was the last of Katherine Parr's three husbands (Henry VIII being the second). It is the second time that Laughton plays the great monarch, and the terrible fury of the man is shown in two shots showing his hand caressing the neck of Elizabeth's doomed mother Anne Boleyn, and later caressing the neck of the doomed Catherine Howard in the same way. Most interesting is the casting of Jean Simmons and Steward Granger as Princess Elizabeth and Admiral Tom Seymour. They were married at the time, so their scenes together have an extra-something to them (like the Burtons some ten years later). YOUNG BESS is not accurate history, but it is good film making. You will view this film with satisfaction.

It has been a long time arriving but "Young Bess" is finally available on the DVD format as of August 2010 through the Warner Bros. Archive program. These are made on demand discs that usually come from the best current material on the title. In other words the film has not been digitally restored as is often the case for new DVD pressings. In the case of "Young Bess" it comes from the material that would be used for screenings on Turner's Classic Movies and in this case it is a very satisfactory presentation. "Young Bess" boasts Technicolor cinematography by two time Oscar winner Charles Rosher (Oscars for Murnau's "Sunrise" and "The Yearling"). The color on the disc does justice to the original film. "Young Bess" is that rare film in which direction, screenplay, cast, costumes, musical score, sets all come together to provide a superior film experience. Jean Simmon's performance as the young Elizabeth is one of her two or three best roles. If you love this film as I do then you'll want to order it at wbshop.com and you may also find other titles to add to your collection

Good choice from the makers of this movie to focus on this stage of Queen Elizabeth as a preparation stage for her to be the real Establesher and founder of United Kingdom during the battle of Armada against Spanish and Portugesse navy that tried to occupied UK but the solidarity brought up of Young Bess learned here to face the hard destiny and fate to cross with her nation on this hard future but the Battle of Armada was a turning point for British nation to put their country on the Glob.

Great Movie and great acting from Simons , Deborah Kerr , Stewart Granger that usually entertained us in front of Epic story and Simplified the hard information and historical expressions in the scene to help the next generations to know their heritage as a point of safety from erase and decline under the wings of globalization.

Its historical inaccuracies aside (including its scrubbed and polished depiction of a far less sanitary time, even, most probably, amidst the pomp and pageantry of the royal court), this costume romance is typical of the very carefully produced and handsomely mounted style of M-G-M in the waning days of its preeminence among the major Hollywood studios. Its well-chosen cast performs most satisfactorily under George Sidney's assured direction and the artistic and technical credits are impeccable, notably the art direction and the almost absurdly luxurious costuming. This film was nominated in the color categories for those two contributions and, most unjustly in my opinion, lost out to Twentieth's first CinemaScope blockbuster, "The Robe," in both cases. The prolific Miklos Rozsa provides one of his more sprightly scores, deftly enhancing the script's focus on the romantic entanglements of the principals. Still, enough attention is paid to the great peril of being close to the apogee of power in England at the time. Throughout a sense of dread pervades the audience's hope that Young Bess might actually survive to realize her dream of a love fulfilled.

I'd never heard of this one. Found it on TCM one evening and decided to give it a try. It's a delight! I think the last thing I'd seen Jean Simmons in was "Guys and Dolls" but she's great here as the future legendary queen. Stewart Granger defines the term "matinee idol" and it's wonderful watching the great Charles Laughton chewing the scenery as Henry VIII. Even Deborah Kerr and Cecil Kellaway pop up in supporting roles! I can't speak for the historical accuracy since I know little about this period of English history, but taken just as a great little romantic vignette it's a colorful (literally!) production and very entertaining.