Favorite

This is one of my favorite movies. Sir Cedric Hardwicke is brilliant as the lonely King Charles II. Mostly forgotten today, Hardwicke, in my humble opinion, was the greatest actor of the twentieth century. This is one of his most important screen roles and ranks right beside his portrayals of the bishop in "Les Miserables" and Claude Frollo in "The Hunchback of Notre Dame" as his best. Hardwicke brings dignity to the role of the womanizing king and portrays him in a kind and sympathetic light rather than the debauched and dissipated image in which Charles is presented today. If only we had Hardwicke's great stage performances preserved on film... Highly recommended for its script, music, and acting (especially Sir Cedric). Don't miss this film!

This film tweaked my interest. A long time ago, I read English history, but I don't recall much about Charles II, or the name Nell Gwyn. So, I did some research. Outside of Anglophiles and history buffs or scholars, I doubt that many today would know about Nell Gwyn. But she was real and became famous – and apparently beloved by the English public, as the last and enduring mistress of Charles II, king of England and Ireland. Most of us today can be excused for not having her name at the tip of our tongues. The time period was 1669-1685.

Charles II was born in 1630 but lived in exile until Oliver Cromwell's death in 1658. In 1660 Charles was restored to the throne and his 25-year reign became known as the Restoration. Charles was not a strong ruler, but the Restoration saw a period of colonial expansion and revival of literature and drama. In that revival, Eleanor "Nell" Gwyn rose to be the leading performer and star of the King's Company.

Charles married Princess Catherine of Portugal in 1662, but she remained childless all her life. Charles was known for his dalliances by which he had at least 14 illegitimate offspring. Of all his amorous wanderings, Nell Gwyn was his longest, enduring 16 years until his death. "Nell Gwyn" gives a peek at the king's amorous life, with only one other female consort – the Duchess of Portsmouth, played by Jeanne De Casalis. There is no mention of the two sons that Nell bore Charles. Charles Beauclerk was born in 1670 when Nell was 20. Charles made him the Earl of Burford and later Duke of St. Albans. A second son, James Beauclerk, was born in 1671 and died nine years later. Although illiterate, Gwyn was a very talented singer, dancer and actress. She was loved by royalty and public alike, and she never forgot her friends. The film shows that as well. And, it has an account of Charles on his deathbed asking his brother, James, not to let Nell starve. James II was faithful to his brother's behest and provided for Nell for the rest of her life. That was not long though. Nell was struck by apoplexy in 1687 and died after several months. She was 19 years old and 20 years younger than the king when their affair began in 1669. But she lived less than three years beyond his death, and died at the age of 37.

This movie is an imaginable account of Nell Gwyn and her relationship with Charles II. It is probably a good account of the famous actress and her royal lover, based on written records of the period. One such source is the Samuel Pepys book, "Diary," that gives an account of the upper class of London from 1660 to 1669. It is written in diary form, and the movie opening scene is the opening of a book with that title and author. An Encyclopedia Britannica article on Nell Gwyn said that her last stage appearance was in 1670 after the birth of her first son. After that, she was put up in a fine house and admitted to the inner circles of the court. "Nell spent the rest of her life entertaining the king and his friends, living extravagantly, and intriguing against her rivals." The Britannica article says of Nell, "whose frank recklessness, generosity, invariable good temper, ready wit, infectious high spirits, and amazing indiscretions appealed irresistibly to a generation that welcomed in her the living antithesis of Puritanism."

So, "Nell Gwyn" is a fine showcase for showing the talents of Anna Neagle. The 20th century British star of stage and screen also captured the hearts of the public and royalty alike in modern times. Although, it should be pointed out, that was without any amorous wanderings with royalty. The film has a clever and witty script, with some obvious scenes of hammy expressions by Nell and others. Neagle plays her role to the hilt, and Cedric Hardwicke gives a very good treatment to Charles II. The one standout among the supporting cast is Muriel George as Meg. She's Nell's dresser, mother hen, and all around helper, booster and confidant.

This is an entertaining film and look at a distant period in English history. Although it involves adultery and much sexual liberty, as a pre-modern film it treats these with discretion. Most references are by innuendo. Instead, we get a taste of history with some enjoyable performances from "naughty Nell" and the "merry monarch."

As kids we were taught about Nell Gwynn at school albeit skirting around the true nature of her relationship with Charles II It s hard to belive that this film was made almost a century ago with the kind of cheeky postcard humour that could be described as the seed of "carry on"

Anna Neagle is as much a british treasure as the monarchy itself or at least she was. Sadly only viewers of a certain vintage will be aware of just how influential she was to British cinema and her versatility is as wide ranging as the characters she plays.

Ive just rewatched this at 6am and it's put a smile on my face to start what is going to be a long hard day.

Sadly as it's black and white and 90 + years old most people will dismiss it out of hand however, if they give it a chance it may well surprise them.

This vehicle for the talents (such as they were) of the adorable young Anna Neagle is surprisingly specific about orange-seller Nell Gwynn's rise to power as the favorite mistress of Charles II. Although the bawdy laugh and swagger affected by pure-as-snow Anna portraying little Nell is somewhat unconvincing, the film is fast moving and loads of fun. No Hollywood moral ending here.

I opted to check this out after I realized that I had a number of films dealing with the life and times of British King Charles II (a character, albeit prior to his occupying the throne, around whom the recently-viewed THE MOONRAKER {1958} revolves); incidentally, I was under the impression that the surname of the titular figure had an extra 'n' at the end – which made it difficult for me to locate its entry on IMDb! Furthermore, it transpired that the copy I acquired – albeit sourced from the official R2 DVD edition – ran for a mere 72 minutes (in PAL mode) against the official 86!

The film was obviously proposed as a vehicle for leading lady Anna Neagle – who, as it happened, was director Wilcox's spouse and one of Britain's top stars of her time. She plays an orange-seller (though often mentioned, she is never shown peddling this trade!) and stage actress who catches the eye of the King (played by Sir Cedric Hardwicke – managing, in spite of the nature of the role, to largely eschew the cheerlessness that marks much of his work!), openly becoming his mistress even though he is officially betrothed to a haughty French Duchess! The two women's sparring for royal attention takes up much of the running-time (with the noblewoman even maneuvering to make Nell look like she is playing Hardwicke for a fool by inventing a liaison with Hay Petrie as the ambassador of her own country!) – but the result is certainly good-looking (this being an early assignment for celebrated cinematographer Freddie Young) and professionally enough assembled to rise above "woman's picture" fare. That said, just as prominent are the musical numbers (that smack rather more of 20th century music-halls than Restoration-era England!) in which audiences – the King included! – enthusiastically join in.

The plot traces the central relationship to its bitter end, when Nell (having already suffered the ignominy of being looked down upon by the aristocracy) is barred from sharing the King's final moments (while the Duchess sensibly flees the scene of her own accord) and leaves the royal quarters alone. Even so, her earthy background – which sees her rubbing elbows daily with scarred but pensionless war veterans (among whom, presumably, is Will Hay regular Moore Marriott…but I sure did not recognize him!) – leads her to instigate a reform of this kind, shown via superimposed footage of the institution concerned as it stood in 1934! By the way, the script is credited as only having "additional dialogue" by Miles Malleson (here also playing one of Hardwicke's closest collaborators) – with the majority supplied by the characters themselves (including MP Samuel Pepys, with the narrative appearing as though it were 'torn' from his personal diary)! For the record, I have a number of other Neagle/Wilcox efforts in my collection – among which is her second turn as Queen Victoria in SIXTY GLORIOUS YEARS (1938), which I may just get to in the current Easter epic marathon...