Twelfth Night

--spoilers---- Never before have I been *so* excited by a Shakespeare play although I love his plays. I always used to think, from the productions I'd seen of Twelfth Night, that Orsino's decision to marry the newly revealed Viola was just a bit too passionless and convenient - as though Viola would "do" since Olivia was no longer available. It just goes to show that none of those other productions had managed to project what Trevor Nunn and the splendid line up of actors give us in this masterly version. The actors for Viola and Sebastian are so well matched that they really do look related if not identical in features and Viola makes a very convincing young man. I've never liked Helena Bonham Carter more than in this movie - she's just perfect as Olivia. The same for Richard E.Grant, and all the others, except I wondered if Malvolio isn't just a little less irritating than he should be so we are more sorry for him than we should be at the end. As for Toby Stephens as Orsino, well I was transfixed. The Duke was always my favourite character in this story and Stephens has him absolutely perfect with all the dark undertones and his melancholy frustrations along with Viola's powering this aspect of the story. This movie should be shown to all schools along with Branagh's Much Ado which is almost as good, and surely then pupils would be demanding Shakespeare instead of apparently being put off it by teachers not wanting to teach it or whatever reason it is they have these days for avoiding it.

I have fifty English pounds and a stunning cast that could perform any Shakespearean play. Let's make a film! This could easily explain the reason Trevor Nunn has brought Shakespeare's Twelfth Night to the big screen. Only his third attempt at directing film; credit where credit is due, Nunn has succeeded in providing a simple but effective adaptation of the original text. A miniscule budget and distinct lack of cinematic devices (although bestowed with Cornwall's magnificent scenery) suggests a dismal hope of a box office smash. However, that does not mean that Twelfth Night is not worth watching. Whilst it relies heavily on the comic aspects within the original text, it therefore provides an informative insight to themes and characterisation. Yet Nunn cannot be accused of being naïve to the demands of a modern audience, shaping Shakespeare's lines to lacerate callously, invoking eminent and prevailing emotion. Nunn has far from rejected the play's evident connotations to `Comedy of Errors', revelling in slapstick comedy and mistaken identity. Twelfth Night pursues the tale of two mixed-sex twins, separated in a dramatic shipwreck both assume the other has perished. When Viola adorns her brother's persona for better protection all sorts of mayhem and foibles transgress as fate draws them back together. Nunn's decision to set the film in the 1890's is the most peculiar aspect of the film, although the Merchant's costume suggests subtle connotations towards the Boer War. The other period dress, incredibly, succeeds as a composition. Nunn has not attempted a completely contemporary approach but has implied that Shakespeare's words are still prominent throughout history. The truly gritty, dark and intense approach to the text, especially regarding the camera shots (close-ups are utilised particularly efficiently) and cinematography, is compounded by what can only be described as a brilliant and radiant cast. Even the smaller roles are played with a conviction that would make any production team proud. Maria's (Ismelda Staunton) understated role provides a sense of humanity through desire to the character of Sir Toby that would otherwise be lost. Richard. E. Grant in the role of Sir Aguecheek devises a suave chemistry between himself and Mel Smith (as Sir Toby) that propels them into the realm of comedy duo genius, reminiscent of Laurel and Hardy's interaction and physical appearance. Imogen Stubbs is indisputably enchanting as Viola and compared to the pastel, youthful complexion of Sebastian (Steven Mackintosh) plausibly achieves the transition between genders. Nunn excels himself by including the palpable sexual tension between the dashing Duke Orsino (Toby Stephens) and his manservant Cesario, the skilfully disguised Viola. Using composition close-ups that provide an intensity and realism that only enhance the virtuosity of Shakespeare's lines. Olivia (Helena Bonham Carter who looks as though she has just stepped out of a Rossetti painting) brings innocence and poignancy to her unfeasible desire for Cesario. Tearing the audience between comedy and tragedy, her desperation for love emphasises how the play itself totters precariously on the edge of disaster. The complexity of the situation is developed by the sinister element of humour established by Sir Toby, Sir Aguecheek and Maria as they deservedly exploit Malvolio's flaws as an avaricious, ambitious character. However, Nigel Hawthorne's (Malvolio) mesmerising portrayal of a pompous yet vulnerable character, invokes pathos amongst the audience. As he leaves the court forever, it provides a poignant and unbalanced end; Nunn's directing highlights the events have not resulted in opulence for all. Feste is particularly evocative as the anarchic, idiosyncratic but wise fool present in a number of Shakespeare's works. Ben Kingsley immerses himself in the role, creating a superiority that scorns the other actors, adding a dimension and theme of observation to the film. His contribution to the music ergo, rhythm the scenes in which he is present is another reason his performance stands out. Interchanging between diegetic and non-diegetic songs, his melancholy but seductive voice is an aural delicacy. Sound, plays a crucial part in this adaptation of Twelfth Night and Nunn's awareness of production elements is startlingly clear. As Viola is scrambling ashore, the disjointed arpeggio as the keys of the piano are swept aground is symbolic of the confusion and distress that is exuded from her character. Renaissance Films have undoubtedly spent far less than on other Shakespearean adaptations (for example, Kenneth Branagh's Much Ado About Nothing) but should be exceptionally satisfied with Trevor Nunn's original and considered approach to such a vastly well-known and undeniably daunting comedy. The film is one of elegance and dignity (produced without bias or agenda) and at no point degrades itself for cheap laughs or sympathetic humour but retains confidence in the lines and this is something that makes it stand out amongst many.

In Shakespear's time one forgets that expectations would be different. In those days when men and boys played the female characters even some of the humour would be more pertinent. However in this tale of identical male and female twins Viola and Sebastian, Imogen Stubbs is wonderfully serious and funny as a young man in military uniform, with a false moustache, but no beard. The twins are entertainers on a ship which is wrecked on the shores of a hostile country. Viola believes her brother is lost, and disguises herself, to escape detection. After taking the name of Cesario and becomming the squire of an injured nobleman, Count Orsino, played by Toby Stephens, she is sent to proffess his love, and ask for the hand of a wealthy gentlewoman, Olivia, played enchantingly by Helena Bonham Carter. Of course nothing is ever simple, and the Lady falls in love with Viola, and during the course of her duties, Viola falls in love with her master. Whist Viola/Cesario plays the piano for Orsino he reflects 'If music be the food of love, play on -' Sebastian, played by Steven Mackintosh, is not lost and arrives in a fresh ship, with a companion Antonio, and whilst searching for Viola, is wooed by Lady Olivia,who mistakes him for Cesario,and marries her. This leads to an hillarious climax with Olivia wide eyed, as Antonio asks Sebastion 'how hast thow made division of thyself ? 'True identities are revealed, and Count Orsino and Viola are married also. Weaving in and out of the plot, Ben kingsley plays Festes, the wandering fool and minstrel, (who sings terribly), and Mel Smith Plays Sir Toby Belch, and Richard E Grant plays a slightly ragged and eccentric Sir Andrew Aguecheek - is Shakespeare's tongue ever out of his cheek ? Imelda Staunton plays Maria who aids and abets their ploys as suitors to Olivia, and later marries Sir Toby. Nigel Hawthorne plays a much wronged and imprisoned Malvolio. All this, and Direction by Trevor Nunn, with lovely location shots reminiscent of Devon and Cornwall. Music is by Shaun Davy, with some lively jigs, and beautiful Orchestrations. Costumes are by John Bright. Is it really pre 1996 ? I saw this film at the Cinema back then, and this DVD version does not seem at all dated. It is serious, funny, and sometimes moving, and can be enjoyed over and over again.

This is one of my favourite William Shakespeare adaptation of Twelfth Night here!

Schiffbrüchig landet Viola (Imogen Stubbs) an der Küste Illyriens. Da ihr Zwillingsbruder Sebastian (Steven Mackintosh) bei dem Unglück ertrunken ist, ist Viola auf sich alleine gestellt. Um in dem fremden und feindseligen Land sicher zu sein, verkleidet sich Viola als Mann, nennt sich Cesario und tritt alsbald in den Dienst des Herzogs Orsino (Toby Stephens). Viola verliebt sich in den Herzog welcher wiederum hoffnungslos in Olivia (Helena Bonham-Carter) verliebt ist, die ihn aber nicht erhört, weil sie um ihren Bruder trauert. Viola alias Cesario wird vom Herzog als Liebesbote zu Olivia geschickt und natürlich verliebt sich die schöne Oliva Hals über Kopf in den vermeintlichen Jüngling Cesario. Als Violas Zwillingsbruder dann (doch nicht ertrunken) noch auf die "Bühne" tritt und von Olivia für Cesario gehalten wird, ist das witzigste und schrillste und romantischste Chaos komplett. Imogen Stubbs ist die perfekte, und in ihrer Männerrolle ausgesprochen glaubwürdige, Viola. Toby Stephens (Jane Eyre, The Tenant of Wilfell Hall) als liebeskranker Orsino ist unsäglich attraktiv und (ich trau' s mich fast nicht zu sagen) so süß. Wenn beide sich anschmachten schmilzt das Herz wie Butter in der Pfanne. Herrlich wie subtil dieses zarte und widerwillige Hingezogensein zu einem vermeintlichen Mann von Stephens dargestellt wird. Noch witziger muss dieses Geschlechterdurcheinander zu Shakespeares Zeiten gewesen sein, als auch die weiblichen Rollen von Männern besetzt wurden und Viola also von einem Mann gespielt wurde, der eine Frau ist die sich als Mann verkleidet. Steven Mackintosch (Our Mutual Friend) sieht Viola übrigens so verblüffend ähnlich, dass er den perfekten Zwillingsbruder abgibt und die Verwechslungen und Verwirrungen dadurch nur noch glaubwürdiger und witziger werden. Doch der guten Darsteller nicht genug, denn hier sieht man eine spektakuläre Helena Bonham-Carter als verliebte Olivia, die einem die Tränen des Lachens in die Augen treibt und einmal mehr unter Beweis stellt, dass sie nicht nur eine Schönheit sondern auch eine überragende Schauspielerin ist. Und wo wir gerade von den ganz Großen reden: Ben Kingsley spielt den Narren Feste. Er und seine niederträchtige, Schabernack treibende Gefolgschaft (Imelda Staunton als Maria, Mel Smith als Sir Toby Belch und Richard E. Grant als Sir Andrew Aguecheek) sind das perfekte Gespann das Nigel Hawthrone als lächerlich-pompösen und ach so tragischen Malvolio in die Verzweiflung treibt. Dieses Casting in seinem harmonischen und gut aufgelegten Zusammenspiel lässt den Zuschauer im einen Augenblick lachen und im nächsten schon wieder weinen und verleiht der schrägen Komödie gleichzeitg einen satten Touch Tragik. Trevor Nunns "Twelfth Night" ist die herzerfrischende, witzige und kongeniale filmische Umsetzung von Shakespeares Komödie (zu Deutsch "Was ihr wollt"). Der Film ist ungefähr am Ende des 19. Jahrhunderts angesiedelt und wurde in Cornwall gedreht. Die großartigen Landschaften, Kulissen und Kostüme schmeicheln dem Auge und das Können der begnadeten Darsteller dem Verstand. Die shakespearigen Dialoge und Wendungen sind ein Genuss für Herz und Ohr und der Film eine 100 Prozent sichere Geldanlage für alle, die es geistreich, unterhaltsam und anspruchsvoll mögen. DVD: Laufzeit: ca. 128 Minuten, Format: 4:3 (1.85:1), 33 Kapitel, Extras: Trailer, Gallerie, Filmographie Sprache: Englisch OHNE Untertitel

I LOVE this movie! I'm a big Shakespeare fan, and 12th Night is my all time favorite Shakespeare comedy. The way that this movie was done, is not only a credit to the original piece, but they even improved on it! I'm very much a stickler for ORIGINAL TEXT. I hate it when the original text of the play is edited or modernized. I really dislike (but understand) when they edit out parts of the play. From my memory, I would say that there is a very minimum of editing out in this version... and the additions they made, which normally I would object to, really did add to the play. They also re-arranged a few scenes, keeping the text, and that ALSO worked to the advantage of the play. Now, even though 12th Night is my favorite... I am fully aware of how unbelievable the ending can be most of the time it's done. It's just not believable. This film makes it 100% believable. It's 100% acceptable for the ending to be plausible, because of the way the scenes were done and the extra physical elements that were added. If you know the play, you know exactly what I'm talking about. If you don't, I don't want to spoil it, but trust me, you need to see it. If you need more information, the fact that a woman is pretending to be a man, and falls in love with another man (who falls in love with her, thinking that she is male... but being straight...) there is that tension and desire with confusion that really SHOULD be there, but is not written in the text. That is what makes this movie great. My favorite character of the play/film has always been the fool, played by Ben Kingsley. May I just say that Ben Kingsley is the BEST actor I have EVER seen in this role. The character of the fool in this play was specifically written by Shakespeare for the actor (of his day) to play. This was a new (then) concept of the wise fool. This fool does not do physical or low comedy, but is the ONLY character in the entire play who is not some kind of unintentional fool. This fool is where all the wisdom comes from. He's the only character who knows exactly what is going on, but allows everything to happen as it will. So often this character is not grasped by those playing it, or they have trouble playing it. It takes actual wit and cleverness to really pull off this character and Ben Kingsley has that. He's masterful in the role and truly inspiring. If you want an example of the ALL TIME best performance of this character, this is IT! So, of course, this being my favorite character in my favorite play, the fact that he does the role perfectly makes it absolutely fantastic for me. All of the acting is excellent! ALL of it! When Viola is sacrificing her physical self, both temporarily (losing her lovely hair) and permanently (destroying her voice) for her role as a boy, it's heartbreaking. Her love is very real. The love Sebastian has for Antonio and vice versa is very much felt. The pompous attitude, forbidden lust and later, the complete downfall of Malvolio is both hilarious and enthralling. Sir Toby Belch and Maria are also believable and funny in their plotting and romance. The much used Sir Andrew Aguecheek is over-the-top -but in a perfect way! I adored the little bit they threw in there costume-wise for him. Orsino and Olivia are both characters where their love should not and (sadly, in most productions) never is honestly believable in the end, but for this film it is 100% believable and set up for complete success by the director and the actions of the actors. Sure, she's married a total stranger, but we get the feeling that it'll all be ok, BECAUSE OF THE ADDITIONS! If we'd not seen that first scene where they made that relationship of the twins come alive for us and we knew their bond, their love and their spirit, it just wouldn't be the same. So if you've not seen it yet, GET IT AND SEE IT NOW!

Great movie, was new, as described.

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