Stage Beauty

He is exquisite, Billy Crudup I mean, but not as a woman. Strangely enough he is more feminine as a man than he is as a woman. Look at him in "Almost Famous" perfect. Shaped like a flamenco dancer, rhythmic, sexual, casually overpowering. In "Jesus's Son" just by waking up at the beginning of the film, he, his character, gets you. Here he seems at odds with the feminine aspect of his character. His Desdemona is a performance. What perhaps I'm saying is that I admired the performance but I didn't feel it. I was aware of its quality but I couldn't taste it, as I have done with previous Billy Crudup creations. Another strange thing, Clare Danes. I think she's one of the most interesting actresses of her generation and here you enjoy her enormously when she's on but her character is now a blurry dot in my memory. What remains most vividly in my mind is Rupert Everett's sensational turn as King Charles. All said and done, try not to miss it.

I had heard of the film through tadbloid and celebrity headlines of how Billy Crudup left his seven month pregnant girlfriend, Mary-Louise Parker, for Claire Danes. I wasn't interested in the film, but then my sister got the DVD for her birthday. I saw it for the first time over the week and I have been watching it over and over again. What a beautifully written story about acting, gender, theater, illusion, romance, and discovery of one's own identity. During the Restoration of England under the reign of King Charles II, women were finally given the freedom and right to perform on the stage whereas before the decree it was illegal and obscene for a woman to perform on stage.

Ned Kynaston (Billy Crudup) is the greatest actor and the most beautiful "woman" of the English stage. He played several women's part and his most famous is the role of Desdemona in William Shakespeare's Othello. He is studied, admired, loved, and envied by his dress keeper, Maria (Claire Danes). She watches from the wings and longs to act and she does so behind Kynaston's back and in low pubs before a royal official, the Duke of Buckingham (Ben Chaplin). Then the chain of events unfold as Maria is introduced to Charles II (Rupert Everett) and his mistress Nell Gwyn (Zoe Tapper) who then declares that women will be given the freedom to perform in theater.

As Maria's fame rises and women are playing more and more of the female roles, Ned Kynaston (the last of his kind of actors) is casted aside. As an actor and as man, Kynaston had learned to suppress all masculinity in order to gain the grace and beauty of a woman. He knows only how to portray women and he is lost in learning to play male roles. But then again Maria is unable to play the role of Desdemona as a real woman. Both Kynaston and Maria fall in love and into passion as they learn from each other their own sexual identities and to channel their femininity and masculinity.

I fell in love with the film's story and with the performances of Billy Crudup and Claire Danes. As Kynaston, Crudup reveals vulnerability and strength as a man who discovers himself as a man (and a very hot one at that) through the role and eyes of being a woman. As Maria, Danes is beautiful and real: those tears are real! She can cry on cue and with the heartbreak of a real woman in love and envious of the man she loves. Maria is a strong, forthcoming, and in way a modern actress ahead of her time. She is not an "Eve" from All About Eve, she is a Viola Delesop from Shakespeare In Love, but real. The love scene between Danes and Crudup is sexy, tender, and passionate showing that explicit sex and nudity is not always necessary. They look into each other's sides and truly learn from each other as man and woman.

This is a highly recommended film for those who love acting, period pieces, or just if you want to see a really good film, "Stage Beauty" is very much the film to watch.

This movie has the blessing of the flawless direction of Richard Eyre, who knows a lot about kings and queens. The screen play is adapted by the author of the play, Jeffrey Hatcher. Surprisingly, these two men have been able to create a film that is not only visually satisfying, but it also is an adult entertainment.

This movie gives us a glimpse of how theatre functioned in England up to the times of Charles II. The female roles of all plays were portrayed by male actors. The school of acting in that era was an artificial one where actors relied in gestures and affectations that would be laughable today in a serious drama, but that was the way it was the accepted Method then, nothing to do with Stanivslaski, or Strassberg.

The leading figure of that theatrical world was Ned Keynaston, who was the most famous Desdemona of his time. There must have been a lot of gay men that were attracted to that world, as was the case with Mr. Keynaston, who might have been bisexual, although that comes as a secondary subplot. This actor is greatly admired by all, including the dressing assistant, Maria. This girl loved to be in the theatre, but could not, because only men were allowed. So instead, she goes to a second rate company that puts on plays in a pub and emerges as Margaret Hughes, an actress in her own right who will challenge Keynaston's Desdemona and makes that role, her signature role as well.

Claire Danes, as Maria, or Margaret Hughes, has never been better! She shines as the girl whose ambition is to be on stage. She is wonderful in the part. Ned, played with gusto by Billy Crudup, shows an unexpected range, although he has done theatre extensively. Both of these actors takes us back to London and make us believe that what we are watching.

A glorious English cast behind the two American principals are gathered to play effortlessly the theatrical figures of the time, and also the King and his court. Ruper Everett, as King Charles II, is hilarious. The scene in which he plays in drag with his mistress, Nell Gwynn, is one of the best things of the movie. Also, Richard Griffith, as lecherous Sir Charles Sedley, gives a stellar performance. Ben Chaplin, as the Duke of Buckingham, reveals the ambiguity of the men that were attracted to those early thespians.

Thoroughly enjoyable because of Richard Eyre's direction and eye for detail.

'Without beauty, there's nothing. Who could love that?' (Ned Kynaston, Stage Beauty)

Don't expect an elegant historical romp from Stage Beauty; it's much more than that. Director Richard Eyre (Iris) and screenwriter Jeffrey Hatcher have loosely interpreted true events to deliver a passionate, romantic journey of gender-bending self-realisation set in the bawdy world of the British Restoration, circa 1660.

In a time when women are banned from acting on stage, King Charles II is on the throne, accompanied everywhere by his vulgar but merry mistress, Nell Gwnn. Meanwhile Ned Kynaston (Billy Crudup) is the most celebrated leading lady of his time. He is adored…by his audiences, by his lover and patron the Duke of Buckingham, and secretly loved by his dresser Maria (Claire Danes). But when aspiring actress Maria's illegal performance as Desdemona in Othello triggers royal permission for women to act on stage, Kynaston's fall from grace is swift.

This is an actors' film, where the talents of Danes and in particular, Crudup, shine. (Their remarkable relationship triggered an off-screen romance.) Crudup is taut as the bisexual Kynaston, trained to be a calamity and actress since early adolescence, and emotes powerfully as he struggles with his sexuality and identity in an unfriendly new political landscape. He is alternately a catty drag queen, angry young man and committed thespian, without ever straying beyond credibility. In contrast, Danes is luminous but unsure as Maria. A talented supporting cast includes Rupert Everett, providing comic relief as the languid King, while Ben Chaplin is sensual as the self-serving Duke.

Stage Beauty has been compared to Shakespeare in Love, but although it's less successful, it's far less contrived. Although Stage Beauty is a love story, you don't know how things will resolve. The pace is less brisk than in a more manufactured film, but it's also more realistic, enhanced by production design and costuming which depicts both the grit and the sumptuousness of the time.

While at first the on stage acting grates, it is deliberate. As Stage Beauty progresses, the acting technique evolves to resemble 19th Century Naturalism – not true to life, but faithful to the emotional journey of the characters. It's a special film that will take you on an emotional journey too.

**** out of ***** stars.

"All the world's a stage," wrote the Bard, "and all the men and women merely players that strut and fret their hour upon the stage."

"Stage Beauty" is set in the world of seventeenth-century Restoration theatre, but the stage serves as a microcosm for life itself, and the roles played by the actors before the public mirror the roles they play in their private lives. The question is, do they create their roles, or do their roles create them?

Ned Kynaston (Billy Crudup) is an actor who takes on women's roles, since real women are not permitted to do so. He has been thoroughly trained and schooled in the then highly stylized technique of portraying women -- to such an extent that any trace of masculinity seems to have been drummed out of him.

His dresser Maria (Clare Danes) yearns to be an actress herself, but is prevented from doing so by the narrow conventions of Puritan England -- until Charles II is restored to the throne and decrees that, henceforth, real women shall play women's roles on the stage. A whole new world opens up for Maria, but it looks like curtains for Ned.

What happens next is pure anachronism: Ned and Maria are able to rise above the limitations and constraints of their era. Not only do they transcend their gender or sex roles, but they overcome their classical training and, in effect, engage in Method acting, a technique still three hundred years away in the far-distant future. When he teaches Maria how to break the mold and play Othello's Desdemona in a whole new, natural way, Ned becomes a seventeenth-century Stanislavsky.

But, by George, it works. Their performance of the celebrated death scene from "Othello" sends shock waves through an audience accustomed to pantomime and exaggerated gestures -- and it electrifies us as well.

Not since Joseph Fiennes and Gwyneth Paltrow in "Shakespeare in Love" have an actor and actress so shimmered and shone simultaneously on stage and screen. One hopes that Billy Crudup and Clare Danes will be remembered for their luminous performances at the 2005 Academy Awards.