Shakespeare apasionado

In the times when Women were not allowed to act on the stage. A time when a young William Shakespeare (Joseph Fiennes) was troubled with Writers block. Viola (Gwyneth Paltrow) wanted nothing more than to perform on stage.

The Lovely Viola, is set to marry Lord Wessex, but her desire to become an actress, leads her to dress as a man and she successfully auditions for a part in Shakespeare's Romeo and Ethel the pirate's daughter. Inspired by a forbidden love for Viola, Shakespeare's writers block is lifted and his play blossoms into Romeo and Juliet.

This is a heart warming tale of forbidden love between an unlikely couple, and is delivered in a charming way, with subtle comedy undertones throughout.

A Beautiful Film 8/10

When my English teacher told the class that we would be watching "Shakespeare in Love" everyone groaned, me included. We all thought it would be another boring movie, but I along with many others was pleasantly surprised. Even though the movie didn't portray the actual life of William Shakespeare, it is a very interesting interpretation of what his life might have been like. Normally I am not a big fan of Gwenyth Paltrow, but she fulfilled the role of Viola De Lesseps very well. This movie, unlike many others I have been forced to watch in school, has not been a waste of time and has informed us more about the concepts and details that could not be seen just by reading the play. Overall I think I have gained a better understanding of Romeo and Juliet by watching "Shakespeare in Love".

Saving Private Ryan? Pants. Thin Red Line? Pants. Shakespeare In Love cannot and should not be compared to these movies for one simple reason - it isn't one of these movies. And why war films should be singled out for distinction when they are themselves rehashed or strangely and continually perceived as being 'powerful' or 'artistic' or 'sensitive' is beyond me. I'm not saying that they are necessarily bad films in themselves, but I think it's time you tried to broaden your horizons a bit. Shakespeare In Love seems certainly to have been received on two levels. Historical relevance and accuracy is not the aim of the film - no more than it was with Braveheart. The latter seems consistently raved-over, and not without some cause - I rank it as one of my favourite films, even though it is essentially a pure flight of fantasy (I love one reviewer's comment - "I look forward to the sequel". Come off it!). SIL contains a continual stream not just of 'in-jokes' but of humour at its cleverest and driest. It is an engaging and almost plausible theory of how the great bard came to write one of the great plays, and how others may have followed. The very fact that it is almost a convincing film singles it out as an achievement in inventive, entertaining script writing. The fact that it has been so well received on this side of the pond precludes the theory of its Englishness appealing to the Academians; it is simply an engaging love story whose humour suits the background knowledge and style of humour found here. Sorry guys - but if I wanted a decent war movie, I'd take Where Eagles Dare; if I wanted a trip into the surreal I'd settle for Jacob's Ladder; if I wanted a poignant, historically accurate, and powerful war movie I'd take Schindler's List. And if I wanted a clever, witty and original twist on two old themes, I'd take Shakespeare In Love. It deserved to win recognition, and failure to observe this precludes criticism of all but the most basic films to be found on the silver screen.

I had high hopes for this film from the first time I saw the trailer. I am happy to say that the film lives up to the previews. Although it is an art house flick of sorts, it manages to be profound and accessible at the same time. So many art house films manage to be merely pretentious, as if aimed at those that want to believe that they are having an intellectual experience rather than those who are really open to one. This film shows that you can make a film of substance that is at the same time very entertaining.

One thing that stood out was the way they showed enough of the performance of Romeo and Juliet so that you could understand what the play is about, without making it a film of the play per se. There are many parallels between the fictional play and the events of the film, and this goes to underscore the relevance of great literature to the human condition. The actual performance of the play was acted so well that there were times when a character in the play was in a fight and I said to myself "they're really fighting, that guy really got stabbed!" So often a play within a movie is acted in a very staged manner, so this was a welcome surprise. And for anyone who is a fan of Shakespeare, it is easy to find little tidbits to reflect upon - such as the fact that Shakespeare himself was fond of the "play within a play" theme that we see in this film.

The performances are excellent throughout, including minor characters. In the midst of tragedy there is genuine comic relief, just as in Shakespeare. The historical details that surround the conjectural main plot are accurate down to the names of the actual people with whom Shakespeare crossed paths. In the end "Shakespeare in Love" causes us to feel as well as think, to think as well as to be entertained.

Those who are looking for a historically accurate portrayal of Shakespeare's life had better look elsewhere - but then this was never intended to be a serious look at the life of the man. Those who attack it for its' fanciful relation to history have missed the point entirely. It is a romantic comedy obsessed with nothing more than making references in storyline and plot to the plays of Shakespeare and his contemporaries, and those references are made so seamlessly it could almost be assumed that what we see on the screen actually happened to the man.

In fact the overall story we are presented with is not new. Anyone who had read or seen `Romeo and Juliet' will have a pretty shrewd idea of the path the narrative takes - the twist is that in the film, Shakespeare writes the play `Romeo and Juliet' in parallel to, and based on, his `real life' relationship with Lady Viola.

The opening sees Shakespeare (Joseph Fiennes) desperately trying to write the masterpiece `Romeo and Ethel, the Pirates Daughter', a comedy he hopes will rival anything by Christopher Marlow (Rupert Everett). Words fail him until his muse appears in the shape of Lady Viola (Gwyneth Paltrow), a noblewoman whose love for the work of Shakespeare's leads her to dress as a boy (since at the time women were not allowed on stage) and attend an audition in disguise (mistaken identity and women dressing as men are devices Shakespeare often used in his comedies). She is given the role of Romeo and begins a forbidden relationship with Shakespeare, the only one who knows her real identity, in spite of the fact that she is betrothed to the villainous Lord Wessex (Colin Firth) at Queen Elizabeth's (Judi Dench) command.

Fiennes portrays Shakespeare wonderfully and not as the infallible master of rhetoric. He takes the Bard from the pedestal and brings him down to a human level that we can all sympathise with. His relationship with Paltrow is handled sensitively, although many of the scenes that are exclusively their own did have enough a little too much `Chick-Flick' for my liking. Paltrow's R.P. accent is technically very good, and though I normally like my English to be played by the English, I was as happily surprised by her performance as I was by Ben Affleck's brief, but memorable portrayal of the self-important Ned Alleyn. Much of the credit, though, must go to Michelle Guish for the wonderful supporting cast including: Judi Dench, Simon Callow, Imelda Staunton, Jim Carter, Martin Clunes and Geoffrey Rush, to name but a few.

John Madden directs hypnotically and constantly keeps the camera on the move but most credit for the film must go to Marc Norman and Tom Stoppard for their cunning and often self-parodying script. The only comment I would make is regarding the sheer number of theatre references. Those who have worked in the theatre will be aware of many, if not all, of the in-jokes that the film is littered with. Those who have not may be left with the feeling that they have been excluded from much of the content.