Shakespeare in Love

In the movie Shakespeare in Love, a young and promising William Shakespeare is finding it difficult to write a new play. He feels he has lost his gift for stringing together eloquent sentences and yearns for some sort of inspiration to rid him of his horrible writer's block. William then meets the lovely and royal Viola, who is craving to be an actress. She becomes his muse, as well as the lead `actor' in his new play Romeo and Juliet, as they weave a tangled love affair. This burning passion they feel can only end with separation when Viola is forced to marry Lord Wessex and move to America. This film is a wonderful combination of romance, comedy, and drama that attempts a new perspective of the classic Romeo and Juliet story. It employs clever dialogue, beautiful scenes, and wonderful characterization to entertain the viewer. The film's Renaissance dialogue is true to its time period. With such an excellent script, William comes across as the master of speech that he really is. Some parts of the movie are purely funny as almost to parody the seriousness of Romeo and Juliet. Other parts intertwine the actual lines from the play, such as the multiple bedroom scenes between Will and Viola, to provide a unique and obvious parallel between it and the movie. When Will quotes `Shall I compare thee to a summer's day?' to Viola, this provides not only a sentimental scene but actual words from Shakespeare to add to the historical content of this film. This film has an interesting twist on the tragic tale because Will becomes not just a writer pouring out the lines for pay, but a man pouring out his heart in true love. At the end of the movie, Romeo and Juliet is presented as though you were actually sitting on the dirt floor of the playhouse. You see the play through the eyes of a person in England during the late 1500's, except by this time the lead is not longer Romeo and Juliet but literarily and symbolically Will and Viola. The setting of this film is very well done, and the playhouses, taverns, and elegant houses convey the feeling of Renaissance England. The costumes, including Queen Elizabeth's glamorous dresses and Viola's body-shaping corset, are seemingly accurate. (I would have hated wearing those clothes!) The scenes between Will and Viola are rarely anything but love scenes, and they, like their counterpart scenes in Romeo and Juliet, mostly happen at night. This adds to the mystery and forbidden feeling of the movie. The characterization of this film was splendidly carried out. I could not help but fall in love with the beautiful emotion that gushed from Will and Viola ( Will is extremely good looking by the way). When the couple was separated in the end, I felt like a terrible wrong had been committed. The character of Queen Elizabeth, with her snide comments and all-knowing attitude, was a comical representation of a serious position that kept me completely entertained. Christopher Marlowe also provides a wonderful character that conveys `real person' qualities of competition between two famous playwrights. I found this film to be completely engaging from start to finish, but I would not recommend it to everyone. I believe it could truly be given the title of `chick flick' by some viewers despite its fight scenes and comedic devices. The viewer will gain a knowledge of the Renaissance period and its characteristics while also getting the feeling of knowing the great William Shakespeare, however inaccurate the description of Will may be. I feel that now I appreciate the play Romeo and Juliet with a new sense of understanding that can only come from looking at an old tale in a new light.

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.

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.

Tom Stoppard, who penned Rosencrantz and Guildenstern Are Dead, knows a thing or two about the modern deconstruction and reconstruction of Shakespeare's work -- and it shows in the bright and vivid Shakespeare in Love, which Stoppard co-wrote with Marc Norman. Applying many of the same conventions favored by Shakespeare in his own work (including primarily the confusion over mistaken identity and gender) the screenwriters begin with the "what if" premise and run with it, speculating with wicked delight on the Bard's rivalry with Christopher Marlowe, his use of overheard phrases finding their way into his plays, and best of all, the possible sources of his inspiration. Will's muse is Violet, played wonderfully by Gwyneth Paltrow, who shows off in this film her finest acting to date and credibly pulls off the tricky task of being both an object of poetic inspiration and a genuine, down-to-earth human being.

A romantic comedy does not get much better than Shakespeare in Love. Here is a movie that captures the feel of England 400 years ago. It is romantic yet light. It is funny but is complex enough to provide enjoyment for fans of literature.

The sets of England 400 years ago, the costumes and the character's makeup including their bad dental work were just right. You could almost smell those streets. The hero, Shakespeare, is excellently played by Joseph Fiennes. He is sympathetic but never pathetic. As for Gwyneth Paltrow, she shows her range from boyishness to radiance. This is the first film I have seen her in where I believed she could become a great actress. There is also a great supporting cast, especially Judi Dench, who all have good melodramatic and comic instincts.

The film never plods. The screenplay is rich with romance, emotion and action. The plot weaves several stories and themes. You can enjoy it as a simple love story with some action and basic suspense about producing a play or you can get much deeper into movie's complex tapestry of ideas and in jokes. But most importantly the film's mood is always light and is never overblown (unlike another recent movie about unfulfilled love, Great Expectations).

Deserving of its Oscar, this is simply a great film.