Titus

The opening of this film had me convinced that I was about to view the most fantastic film I'd ever taken the time to sit through. Between the soundtrack and the visuals I was spellbound. The visuals have so very much be praised for, originality, flair, shock value, beauty, however not knowing anything about this original Shakesperean play I found myself in a constant state of frustration trying to piece together what was happening. My only clues came from the stream of abstract visuals. I received no help what so ever from the dialogue. I should have known better. It's Shakespear.

Enough said. If you have had no contact with this play before, the extraordinary images may hold you all the way through to the end. I didn't make it. If you are interested in taking a look, I would highly recommend you at least investigate the storyline first.

TITUS / (1999) **** (out of four)

By Blake French:

"Titus Andronicus" proves Shakespeare had a dirty, violent mind. The original tragedy, one of Shakespeare's lesser known, plays like a 90's slasher film, with enough blood, guts, decapitations, amputations, murders, and missing limbs for several modern day horror romps. When director Julie Taymor adapted the play to the screen, she proved what a brave, gutsy filmmaker we have working here. It's like watching an on-screen play, with all the guts and glory of Shakespeare; the script does not even feel as if it was rewritten for the screen, but left for a modern dramatization of theater. Her film "Titus," starring veteran actors Anthony Hopkins and Jessica Lang, is one of the most bizarre updates of William Shakespeare's work I can remember-and that is a very good thing.

Anthony Hopkins plays general Titus Andronicus, at the heart of the story, who, as the movie opens, returns from conquering the Goths. Ignoring the motives of his mother, Tamora (Lang), and her two lasting sons, Chiron (Jonathan Rhys-Meyers), and Demetrius (Matthew Rhys), Titus ceremoniously sacrifices one of the apprehended enemies and supports the scandalous Saturninus (Alan Cumming) who is soon to be emperor.

Saturninus chooses Titus' daughter, Lavinia (Laura Fraser), to be his wife, despite the fact that she has already been plighted to Saturninus own brother (James Frain). The young couple flee after hearing the decision, causing Titus to murder one of his own disputing sons. Saturninus then chooses Tamora as his new bridal choice.

What follows is a series of memorable events that begin as a simple revenge scheme against Titus and his daughter, led by Tamora and her sons, and her secret lover, the sadistic Moor Aaron (Harry Lennix). From that point on, Titus rebels against his alliances and joins his family, including younger brother Lucius (Colm Feore), in a battle against his enemies to seek ever so sweet revenge.

Unlike the modern update of "Romeo & Juliet" in 1996, the actors in "Titus" feel very comfortable with the Shakespearean language. They all do an exceptionally convincing job bringing the beautiful language to life inside their artistic characters. Anthony Hopkins is right at home here, delivering a challenging, particularly involving, and gripping performance. Alan Cumming is perfectly cast as a sleazy slime ball. Jessica Lang takes advantage of capturing such a juicy, extravagant character and is not afraid to overact when necessary.

It is the tone, however, and the atmosphere, that makes the production so captivating. Some scenes feel as if we are in some zany, demented comedy of bleak proportions, often seized by the engaging, although unusual, sound track. In one scene, we feel uncomfortable with the sight of several young men listening to heavy rock music and playing video games in a Shakespearean movie. It is also continuously unique and entertaining. There is an absolutely stunning sequence in an orgy, and the throat slitting, cannibalistic finale seems like something Hannibal Lector would concoct.

"Titus" is a very strange, peculiar picture, often disturbing and cringe-inducing. It is not a movie for everyone. Although the film is made in a way in which I think most intelligent audiences could at least somewhat understand, it is also extremely graphic in its violence and sexual content; it is R-rated and intended for mature audiences only. "Titus" will captivate forbearing fans of its unique genre, but disgust those looking for passionate and a happy ending. I found myself reluctant at first, but once I gave myself over to the characters, story, and motives, I was simply enthralled by the dazzling filmmaking here. "Titus" is one of the year's best films.

Having just read Titus Andronicus for the first time I was eager to take a look at the 1999 film version. I found it an uplifting experience, because though the film was quite different to my own visualization of the story, it was a perfectly consistent modern take that both respected the language and construction of the original play and provided an exciting, personal interpretation –respectful of Shakespeare but true to itself. In fact, I rate it as among the best screen versions of Shakespeare's work. Perhaps because it also succeeds in balancing on a line that is purely theatrical on one side and purely cinematic on the other –so that though I often feel I am watching a film of a stage production, I never feel constrained by this, for the film is genuinely and richly cinematic. I am also extremely glad that a certain amount of restraint was shown in the direction –it could so easily have been totally overloaded with effects, forced gimmicks and gore, but here the visuals –and impressive they are– never overpower the language and the interaction between the characters.

The performances are of a high level throughout, and the actors are all comfortable with the language, which is a relief because so many other "modern" versions of Shakespeare suffer from an inconsistent mixing of acting styles that distract us momentarily from the story. Here there is no attempt to slur the dialogue to make it seem "real" –it succeeds because it retains its metre and theatricality. I think Anthony Hopkins' performance is interestingly low-key and playful –the character itself is a difficult one to fully sympathize with– but Hopkins takes us down many different paths. He is both former hard general, ambitious and later grieving father, warm grandfather figure, madman, avenger –a complex character indeed. And again, the restraint in his performance says more than any rant. I also particularly like the pairing of him with Colm Feore as his brother. Alan Cumming gives a very memorable performance as the emperor –I found this character difficult to fully get hold of when I read the play, but the boldness and audacity shown by Cumming makes him very clear –and again it's never over- the-top as it so easily could be.

I think it does help to know at least something of the play before seeing the film as there is no real explanation of exactly who is who to begin with and this may cause some confusion – the unravelling of characters and their relationships is equally challenging in the opening of the play, so the fault (if it can be called that) lies with Shakespeare. The whole first act is a bit of a mess –perhaps intentionally– and though we are able to work out who is who and what their relationship is to the next person, it does demand a bit of extra concentration at the beginning of the film that could perhaps have benefited from some form of narration or on- screen signing. This is, however, my only complaint –otherwise I found the film marvellous; utterly shocking, of course, but marvellously shocking!

This film demonstrates how a stage director can combine the unique atmosphere of theater with the stark realism--and fantastic effects-- of film and make a beautiful, moving masterpiece. The words are Shakespeare, the staging is fabulous, the costumes and sets are remarkable and memorable. Jessica Lange and Anthony Hopkins and Alan Cummings radiate. Seeing Titus leaves one exhausted and exhilarated, believing one has seen true, gifted, timeless film making.

Titus is one of Shakespeare's little-known, earlier works, and it is a violent, disturbing tragedy. The producer and director took incredible risks to bring this remarkable experience to you. I know you will be moved.

Titus is Julie Traynor's adaption of one of Shakespeare's bloodier works, Titus Andronicus. It's set in a surreal land where ancient idiom is mixed with modern dress and customs. It's not normally a form I like because I prefer my Shakespeare traditional. However in the case of Titus Andronicus though the setting is that of ancient Rome, the characters and plot incidents are an amalgamation of several stories out of Rome, so there is no real history for it to compete with. It's not like doing Julius Caesar in this kind of setting.

Titus Andronicus is a Roman general whose legions can make or break the next emperor. Rather than claim the crown himself he says give it to the eldest son of the last emperor Saturninus. He soon wishes he hadn't been that magnanimous.

The other strand of the plot involves Titus in insisting a blood sacrifice be made to the Roman Gods of the eldest son of the captured Queen of Goths Tamora. She begs and pleads for her kid's life, but to no avail. After that she starts planning revenge and she's got two other sons and a Moorish man toy named Aaron to both help her out and pour gasoline on her fires for revenge.

Watching Titus Andronicus I thought of Hamlet which also about what turns out to be a bloody quest for vengeance where nearly every principal character winds up dead in the end. But in Hamlet's case the deaths were by sword except in the case of the father of Hamlet, already dead by poison. This one is a whole matter.

And how singularly appropriate that the man who won an Academy Award for playing Hannibal the Cannibal plays Titus Andronicus. We've got rape, mutilation, throat cutting, decapitation, being buried alive, and finally what the play is most noted for, the serving of up of a tasty meat pie with the flesh of two of the characters.

Anthony Hopkins of course is the caterer and he's magnificent in the title role. He goes almost as mad as Hannibal the Cannibal in Titus. From a man who generously gave a crown away, to a blood crazed animal, Hopkins deterioration in character is truly something to behold.

He's matched every step of the way by Jessica Lange as Tamora. Lady MacBeth has nothing on this woman, she makes Lady MacBeth look like Mary Poppins. Lange brings some real passion to this part, in some ways it's a more substantial role than the title character. I would venture to say it is one of the best roles for a woman that the Bard ever wrote.

Titus Andronicus is one of Shakespeare's lesser known plays. Quite frankly it's too bloody for most tastes. I doubt it will ever make a high school English syllabus. But it's a fascinating tale of revenge, just taking hold of people until that's all they live for.