The cartoon history of the Elizabethan age continues in “Elizabeth: The Golden Age,” the follow-up to 1998’s well-reviewed “Elizabeth.” It’s 1585, 27 years after the events in the first film, and Queen Elizabeth (Blanchett) has more troubles to contend with. The least of these is her persistent unmarried state – she’s not called the Virgin Queen for nothing – while the biggest threat to her reign is Catholic King Philip of Spain and his desire to rid England of her Protestant inclinations, a plot that involves the imprisoned Mary, Queen of Scots (Morton), and a Jesuit secret agent (Ifans).

Comparisons to a comic book are apt, not because of its shameless and questionably forgivable historical fantasizing, but because “The Golden Age” has the fast pace that comes from condensing an entire history book into a few paragraphs. From plot to characters, all is presented with broad outlines and with a greater concern for visual and melodramatic impact than detail. In this sense, the first film was much like a superhero origin story. After Elizabeth survives the attempts to dislodge her from the throne, she earns her beautifully-designed superhero costume: the iconic deathly white face-paint and resplendent, virginal white dress. No longer Elizabeth, she is Captain Lizzy, mother and defender for the good people of the British Empire.

A Successful Melodrama

“The Golden Age,” then, is the requisite challenge to the superhero’s complacency. Enter emotional turmoil in the form of Sir Walter Raleigh, played with charming winks and swashbuckling swagger by Clive Owen, and the aforementioned plot to draw England into a war it is not prepared to fight. Cate Blanchett, so regal and beautiful, magnificently storms and fumes, agonizes and worries, loves and yearns. Captain Lizzy is put through her paces, divested of her angelic accoutrements as her resolve is challenged until, with victory finally in hand, the camera can be permitted to linger on her beatific, golden-lit, and properly costumed form.