Twelfth Night, or What You Will

I always did consider Branagh's Twelfth Night the best version of Shakespeare's play(my favourite actually as of now of his plays, mainly because it was one of my first ones along with Macbeth). Then just today I saw the 1980 BBC version, which ties with this version also. Trevor Nunn's film is also good, very well made with a great cast, and the 1987 Australia version is good if very hard to find. In terms of production values, I may just prefer the 1980 version and the autumnal feel of Nunn's film, but the melancholic atmosphere added a whole new dimension to the play that in my opinion Nunn's lacked. Branagh's version also captures the sexual and social themes of Twelfth Night better than the Nunn film(not bringing that film down, just explaining why I prefer Branagh's account). Despite the realistic-looking production values and melancholic atmosphere, the comedy and wit of the play is still there with little if anything left wanting, and while harsh at first the music does calm down and fits well overall. The cast are wonderful, with the standouts being Anton Lesser's scene-stealing Feste and Richard Briers' indignant and not too self-pitying Malvolio, the butt of the clownery. James Saxon and James Simmons are very amusing also as Sirs Toby and Andrew, and Abigail McKern's Maria is very good also. Christopher Hollis is a dashing Sebastian, as Viola Frances Barber, apart from in the Inspector Morse episode she starred in, has rarely looked more radiant and Caroline Langrische is innocent, moving and intellectual as Olivia. Christopher Ravenscroft impresses as Orsino, not resorting too much to buffoonery and I agree he does make us believe he knows that Cesario is female and brings a lot of dimension to that scene. There are a couple of anachronistic things, like with the Christmas Tree, but I for me really enjoyed that particular scene and am willing to overlook any discrepancies. A wonderful Twelfth Night indeed. 10/10 Bethany Cox

My senior English class read the play and watched the film simultaneously and I have to say that (although at first I was put off by the harsh music, and the set and costumes that reminded me too much of Mary Martin's Peter Pan) I really got into it. I thought all the acting was great, especially Maria, Toby, Andrew, Viola and Malvolio, but Anton Lesser as the clown, Feste, stole the show. He was definitely the most memorable character. My only complaint, really, is that sometimes the actors spoke the lines a little too fast. I highly suggest this to anyone that likes theater or Shakespeare.

****/*****

Twelfth Night is one of Shakespeare's most accessible and enjoyable comedies for modern audiences. The most popular film production of the play is the 1996 Trevor Nunn version, which is awash is summery color and broad humor.

This modest 1988 film could not be more different from the Nunn film. Instead of emphasizing the comedy, the underlying melancholy stemming from the play's theme about the pain which comes from love dominates the entire story. Instead of vivid colors, we get a wintry setting and costumes dominated by blues, grays, and blacks. It gives the movie an almost desolate feel with little slapstick at all.

It's an interesting approach to the material and the characters pull it off well. Even though this is merely a filmed stage production, it is engaging enough and the unique focus of the production makes it worth a single view.

Personally, I like this Branagh-directed version very much (well, this movie was directed for TV by Paul Kafno, but it's based on a Branagh staging, and this is what the actors are performing). Granted, it cannot compete with the 1996 Trevor Nunn film, which is excellently colorful and comedic, and had a much bigger production budget.

The Branagh production is set in a TV studio in which has been built the ruins of a formerly rich but now dilapidated estate (Olivia's), and almost all the action takes place there, except for the scenes at Orsino's estate, which are covered in an atmospheric blue sheen that I found very effective at conveying the melancholy of the play (and Orsino's character in particular).

It's true that this production isn't very funny (although I was quite amused by the bit with the Christmas tree). I think this is deliberate. Branagh does not treat this as a comedy, but prefers to delve into the melancholy depth of the text. Thus, he does not provide a folk comedy, but a study in literary profundity. This is to the benefit of those, like myself, who like a philosophically heavy Shakespeare. Note that this version is 2 hours and 35 minutes long, and actually includes all the original text (although I thought Orsino's scenes were rather few and far between), which is always a big plus in my book.

I think all the actors of this production are excellent (and with great enunciation!), but it's true they lack the charisma of better-known faces like those of the Trevor Nunn movie. However, the one element that I find superior in the Branagh version compared to the Nunn version is Malvolio. Now, personally, I think, sacrilegiously, that Malvolio is generally the most boring thing about Twelfth Night. He's sort of like an artificially included comedy element which isn't that funny. I like the rest of the action much better. In Trevor Nunn's excellent movie, Malvolio is the one thing that, to my mind, does not work. Hawthorne acts the part too dramatically, and with too much self-pity. True, Malvolio does exhibit extreme self-pity in the original text, but I think this is supposed to be played for laughs and not to make audiences feel sorry for him (which, based on Hawthorne's histrionics, we never really did anyway). So I thought Richard Brier's Malvolio in the Branagh version was significantly better; still a sad and pathetic character, but in a way that gels with the rest of the mood of the play. He was more downbeat, and never distracted us from the rest of the action. So, overall, I enjoyed this production a lot, and will recommend it to those who prefer both a pensive and a complete text as basis for performance.

8 out of 10.

"Twelfth Night" continues to reveal delights with every re-acquaintance. It is warm, sympathetic, funny, wise, theatrically canny and occasionally dangerous.

This particular version of the play is chamber Shakespeare, based on a fairly intimate theatrical production. It is not particularly outstanding in any way, but it works. The old Shakespeare magic culminating in the final scene builds and releases as it should, and that is the ultimate test.

The cast is good, just good, across the board. There is one standout performance, and that is Richard Briers as Malvolio, and he is considerably better than good.

I found Anton Lesser's Feste a little strained and complicated, plumbing the part for depths not to be found. This is not Hamlet, nor was meant to be.

Some production decisions can be questioned, with anachronistic Christmas elements injected, along with a wholly awkward Christmas carol. The whole winter motif and monochromatic production can be challenged as well, but it all works nonetheless. Unlike some of Mr. Branagh's inspirations, no Bards were harmed in the making of this DVD, and that's a relief.

Many will tell you that Trevor Nunn's feature film of "Twelfth Night" with a potluck cast of stars is the best choice, but I find it a gross miscalculation in tone, scale and pace, and a complete misfire.

There is an 1969 ITV production floating around with truly towering performances by Sir Alec Guinness and Sir Ralph Richardson, but they unbalance the rest of the cast and threaten to capsize the play.

The best overall version with an ensemble cast that is beautifully balanced in every way is the 1980 BBC version from their complete traversal of the canon, with Felicity Kendal, Sinead Cusack and Alec McCowen. That is a delight from beginning to end.