Twelfth Night, or What You Will

I find this an almost impeccable film version of this very subtle Shakespearean comedy, far transcending my former favorite, the 1996 film version by Trevor Nunn, which now pales in comparison. Shakespeare's TWELFTH NIGHT was probably written shortly after HAMLET, around 1601 or 1602, and thus embodies all the complexity of thought and feeling that dominated Shakespeare's greatest period of dramatic productivity. This is not COMEDY OF ERRORS or even MIDSUMMER NIGHT'S DREAM. This is a hilarious comedy tinged with darkness, with Shakespeare probably finally processing the death of his only son, Hamnet, in 1596. This film version of the play captures all that complexity. It is outrageously funny in its dark way, deeply thoughtful, and very powerful in its emotional resonance. This film elucidates characters, character relationships, and situations as no other production I have ever seen. Even the usually, nearly invisible Fabian becomes an important figure in the play. I am especially thrilled by the fresh line readings, many of which have opened new doors for me after nearly 40 years and dozens of experiences with this text. However, many people will be put off by this version's style, which is liberated and far from what people expect from Shakespeare. If one can open one's mind and heart to what is actually here and accept the film's style as a legitimate artistic choice, the appropriateness and power of the camera work and soundtrack become part of this film's strongest features. It is a version that can move those inexperienced with Shakespeare and those who know the text intimately.

First, the acting in this production is excellent, with each actor finding new aspects of the characters in ways you wouldn't have thought of before. Second, the staging is novel and invigorating without being coy and silly in the way some modernized stagings of Shakespeare can be. The multi-ethnic casting adds another dimension of tension and sensuality to the story. If you are familiar with this play, what is intriguing is how this production renders all the lines faithfully, but the text becomes a melancholic, philosophical reflection on life and love--very sweet and moving without being cute. However, if you are watching this instead of reading Cliff Notes, yes, you'll probably have trouble writing your term paper. You will have to pay attention as much as you'd have to pay to actually reading the play. The only real criticism I'd make is that some attempts to be arty with the camera (and editing) don't always succeed.

A made-for-TV adaptation of William Shakespeare's play. Set in modern times with a multi-cultural theme, this is a rather sombre production of one of Shakespeare's comedies, bringing out the darker rather than the comic side of the characters. Sebastian and Viola are portrayed as asylum seekers, ship-wrecked and washed ashore on foreign island, each assuming that the other has drowned. Since they are identical twins, when Viola decides to pose as a man in order to find work it leads to all kinds of confusion including a love triangle involving the dignitaries of the land. Meanwhile amongst the servants and lower orders there is other mischief at work.

Normally, modern adaptations of Shakespeare tend to be clunky and forced; Baz Luhrmann's "Romeo + Juliet" and Michael Almereyda's "Hamlet" are perfect testament to this. Even Richard Loncraine's "Richard III" falls on dull devices trying to place the action of that play in the imagined setting of World War Two. Perhaps it is that the tragedies and histories do not lend themselves well to being updated or embellished (see Julie Taymore's "Titus") and would best be left as they are.

This adaptation of Twelfth Night, however, benefits greatly from the liberties Andrew Bannerman and Tim Supple take with it. Not only is the story better for the adaptation, but the songs are beautifully rendered and the acting and stage direction is superb.

Also incredible is how much they accomplished with so little. This is quite obviously a low budget television adaptation with only a dozen or so sets and very few frills, but what the producers and directors manage to achieve with so little is startling. Whatever Bannerman and Supple made this for could not have exceeded the cost of a luxury car, but the film is a far better ride.

I do like a lot of Shakespeare's plays, the language is not as easy to understand but some synopsis reading and some lessons on Shakespeare, like I had to do for English GCSEs and A Levels, will do just the trick. They have compelling stories and characters, and I love the poetic and witty style of the language. As much as I do love the likes of Hamlet, Midsummer Night's Dream, Merry Wives of Windsor(or Falstaff if you are an opera fan), Macbeth, Much Ado About Nothing, Antony and Cleopatra and Romeo and Juliet, Twelfth Night is my personal favourite. It is deliciously funny and contains some of Shakespeare's most poetic prose(Much Ado About Nothing and Antony and Cleopatra also).

This 2003 version is not the definitive Twelfth Night for me. My favourite is between the 1980 and 1987 adaptations, and the Trevor Nunn film is excellent too for its great acting and exquisite visuals. I did find Sir Andrew rather cardboard, though Richard Bremmer did his very best with the role and does gain some chuckles, and two performances didn't work. Chiwetel Ejiofor is certainly handsome as Orsino but his performance has no real insight or motivation. David Troughton I do like, but even for a very rustic character like Sir Toby I did find him a little too coarse. While I did like the melancholic feel that the adaptation has, making the play more dimensional and more than a comedy(though essentially it is that) I did feel some parts did drag.

Conversely, this Twelfth Night does look great. I always like gorgeous scenery and photography and there is plenty of that here. The songs are beautifully incorporated and have a nice sense of rhythm to them. The dialogue still has its poetry and is still hilarious, especially with Malvolio, while the melancholic aspect is done surprisingly well. There are some interesting touches, such as the asylum seekers subplot and the Sir Toby, Sir Andrew, Feste and Maria spying on Malvolio via CCTV, and the multi-cultural aspect proved good, not just from a historical perspective but also it makes the play more accessible to a wider audience and ethnic minorities(or so I think). The performances are very good on the whole, Claire Price is very moving as Olivia, and there is a very amusing Feste from Zubin Varla. The standouts though were Parminder Nagra, who is not just entrancing to look at but her Viola looks very natural, and Michael Maloney's brilliant Malvolio, I did have a good giggle at the sight of him in yellow tights (pretty) hideous as they were.

Overall, interesting and surprisingly good. Maybe not the ideal version for everybody, especially traditionalists, but for those looking for solid fun this is a good watch. 7/10 Bethany Cox