All's Well That Ends Well

A young woman doctors a king, but can't seem to attract the man she loves. So, she makes a deal with the king that if she heals him he will force the man she loves to marry her . . .

I always felt Shakespeare's comedies were best served by the 1970s/1980s Shakespeare plays. "As You Like It," "Twelfth Night," "The Taming of the Shrew," &c. Were all superb.

The "problem plays," usually listed as comedies, have fine casts but none are quite as much fun as Shakespeare's better comedies. Here, a first-rate cast headed by Angela Down, Michael Hordern, Peter Jeffrey and Ian Charleson carry out William Shakespeare's "problem" play about yet another Shakespearean heroine who loves not wisely but too well.

You're unlikely to hear Shakespeare pronounced better. Hordern alone speaks the bard as naturally as if born in the Elizabethan period, and no one sounds like they're in a race to get the words out faster than anyone else..

This production is awfully dark. No doubt the world was mostly dark before Edison's electric light. It reminds me of conductors who specialize in "original instruments." It's interesting for a curiosity, but it's difficult to believe Mozart wouldn't have preferred to hear his music played by the instruments as they have improved for the past 200 years. Turn up the lights!

The BBC version of "All's Well That Ends Well" is the only one I've ever seen. Perhaps it is terrible compared to other productions, but I still enjoyed it. Angela Down is lovely as Helen, and Peter Jeffrey nearly steals the picture as Parolles. He would have if his part had been bigger. The director cleverly shot every scene to look like a Van Dyke painting. It's beautiful, even though the colors are badly muted. I don't know if that was his intent or whether the film deteriorated, but it looks decidedly dull. While this version may not be great, anyone studying the play or wishing to familiarize themselves with Shakespeare shouldn't snub this production.

"Elijah Moshinsky's TV movie of Shakespeare's 'All's Well That Ends Well' is a funny love story with a twist. Angela Down does a great job playing Helena, who loves Bertram, played by Ian Charleson. Bertram is a nobleman who doesn't love her back. Helena, who learned a lot from her doctor father, cures the King of France and is allowed to marry Bertram. But Bertram runs off to Italy and asks her to do impossible tasks to prove she's faithful. Helena doesn't give up, follows him, and cleverly does what he asked, winning him over.

This movie is one of the best in the BBC Television Shakespeare series. It has beautiful designs, inspired by famous painters like Vermeer and Rembrandt. The costumes and sets are detailed and the lighting adds to the mood of the story.

The actors do a great job, especially Celia Johnson as the kind Countess of Rousillon and Michael Hordern as the funny and loyal Lafeu. Sinden is the thankful King of France and Down's Helena is strong and understanding.

The movie captures the complicated ideas in Shakespeare's play, which is often hard to perform. It's a good mix of funny and serious, romantic and realistic, and explores important themes like gender roles, class, loyalty, honor, trickery, and forgiveness. It also includes great quotes from Shakespeare like "Love all, trust a few, do wrong to none" and "The web of our life is of a mingled yarn, good and ill together". It's a great movie that shows that everything can end up well."

Chaste, thoughtful Helena loves cold, self-centered Bertram. But when the handsome young man rejects her common birth with aristocratic scorn, unexpected events lead to deception and passion! This dark Shakespeare play is one of the real gems of the BBC collection. Everything is right about the costumes, the actors, the sets, and the lush sensuality of the presentation. Ian Charleson as Bertram is more of a villain than a hero through much of the play, laughing at Helena's tears and running off to play with his soldier friends. Yet when lust strikes him in turn, he is humbled. Pippa Guard is refined and hauntingly beautiful as Diana, the girl from the "wrong side of the tracks" (or the Elizabethan equivalent) whom the haughty Bertram plans to seduce. Diana is not just a cheap tramp. She has a desperate purity. Far from welcoming the noble's advances, she reacts like a frightened deer, or a cornered rabbit, shying from Bertram's cynical touch. Only the shrewd scheming of Helena and her high-born friends (including a king who recognizes her true worth) allows her to capture Bertram's heart at last. Humbled and humiliated by his total downfall, (and Diana's scorn) Bertram falls into forgiving Helena's open arms and proclaims his passionate devotion.

A sexy play, full of romantic longing, arrogant elegance, and sheer unadulterated desire!

In a sense, there has been too much effort and taste lavished on a problem play that is a long way short of Shakespeare's best. The Vermeer interiors and Rembrandt references look a treat, but (as well as being anachronistic by half a century) add weight where there is little in the text. A number of the performances do the same, including Angela Down's magnificent Helena, and Paul Brooke's Lavache, the least clownish, and most accountant-like, clown one could possibly hope to meet.

The problem is that if the play is read as a piece with serious psychological points to make and where motivation may be complex but remains explicable, then it is a hard play to watch. Bertram is a distinctly unappealing husband (Ian Charleson's performance does not find hidden depths) for a strong character such as Helena. The tormenting of Parolles by Bertram and his friends can be dismissed as Elizabethan knockabout, unless the treatment is highly realistic, in which case - as in this production - it looks like torture. The attempted seduction of Diana can be farcical, with the clever comedic logic of the rings and the pregnancy, but here seems simply unpleasant.

Donald Sinden's King is the sort of eye-rolling ham performance that will make sense of this play, but amidst the restraint he falls rather flat.

The stand-out performance is Celia Johnson's Countess, a lovely role brilliantly played. She is not the butt of any jokes, and so can be played tenderly. As with Sinden, the older style of acting suits the material. Sometimes, for example during the Florentine scenes, one aches for Johnson to be on screen.

It's not awful, just very much the wrong style, like filming St Trinians in the style of Cathy Come Home.