input: Text: Warrior Queens Elizabeth is a lurid paraphrase of the old Groucho Marx line about Doris Day: "I knew the Virgin Queen before she was a virgin." As the movie tells it, she was a sylvan, redheaded princess (Cate Blanchett) given to gamboling with her fella (Joseph Fiennes) between periods of internment in the Tower of London on charges of conspiring to overthrow her half-sister, the heatedly Catholic Queen Mary (Kathy Burke). The daughter of the second wife of Henry VIII, Anne Boleyn, and therefore dubbed a bastard by the papists, the Protestant Elizabeth ascends the throne to find the air still thick with smoke from roasted heretics, a team of skulking Catholics plotting her assassination, and a council of advisers (lords, bishops, sundry old boys) who snigger openly at the prospect of taking orders from a woman. Only a strategic marriage to a Spaniard or a Frenchman will mollify all factions, her advisers insist, but the pickings prove dismal. (Her French suitor enjoys wearing dresses.) After skulls are smashed, throats slit, and bosoms skewered in the name of Christ, Elizabeth decides to: a) "unsex" herself and become a symbol--the Virgin Queen, married only to England; and b) entertain dissenting opinions exclusively from those whose heads are affixed to spikes.
  Question: What positive critique does the film reviewer offer for "Elizabeth"? juicy melodrama
  
   (A) It relies on juxtaposition-based cinematography that makes for a compelling theatrical performance
   (B) It takes necessary liberties with history's version of Elizabeth's reign to make her story more interesting to movie-goers
   (C) It takes the best aspects of both Jacobean and Shakespearean interpretations of Elizabeth I and combines them into one melodramatic depiction
   (D) It is the best interpretation of Elizabeth I's ascent to the throne and subsequent reign
  Answer:
output: It relies on juxtaposition-based cinematography that makes for a compelling theatrical performance