Comme il vous plaira

This is very much in the same style as Max Reinhardt's ambitious rendering of "A Midsummer Night's Dream" a few years earlier, it's the same playfulness, the same fantastic imagination and innovations, the same good humour and the same kind of gorgeous sets with a number of sumptuous crowd scenes, and instead of Mendelssohn's music you have William Walton, who actually proves just as appropriate. This is one of those plays that are almost impossible to fail in, as it is so ingenious and well written with such adorable characters, and both Elisabeth Bergner and Laurence Olivier do credit to them indeed, Bergner actually almost outshining Olivier, whose fírst Shakespeare film this was. In comparison with Kenneth Branagh's version 70 years later, this is actually so much more enoyable, although it's without colours and much shorter, but Branagh's production is heavier, he has the tendency to always overdo everything in his films, and in this version everything is convincing and true to the original character of the play, while Branagh always must modernize and almost screw it up. The doiminating trait of the film is a very playful direction, you feel throughout that the director enjoyed doing this, perhaps even more than Reinhardt in the midsummer night play with Mickey Rooney as Puck and James Cagney as Bottom, and later on Paul Czinner made some of the best ballet films ever made. In brief, in spite of its early age and lack of technical maturity, this is a perfect Shakespeare film.

Laurence Olivier in his first Shakespeare adaptation on screen. This is the first motif to see this old film , good kick to discover the root of classic performances from Shakespeare universe.

The second virtue - the noble effort of Elizabeth Bergner to create a beautiful Rosalind portrait , using her experience in polish of it on German scene. Her accent ? I saw it as good point , defining exactly the determination to propose a professional performance.

Yes, not great but profound charming, offering a seductive return to the connection between rosalind and Orlando and decent solutions for a real seductive adaptation.

Poor Elizabeth Bergner, she's the daughter of a deposed Duke who's now living in the Ardennes forest. She's living in the palace where her father's brother, the new Duke has kept her on as a companion for his daughter.

But one fine day she catches sight of young Laurence Olivier and when he wins a wrestling match with an airplane spin the folks in the WWE would envy, her eyes are for him only. Trouble is, he's the son of a knight the current Duke also didn't like. And Olivier has had a spat with his older brother. Off he goes to the woods. And Bergner follows him.

Pretty soon everybody's hanging out in the Ardennes and it's kind of like Shakespeare's other forest story, A Midsummer Night's Dream with people darting hither, thither and yon, the pursued becoming the pursuers and vice versa.

Elizabeth Bergner who plays Rosalind charmingly albeit her Teutonic accent, requested Olivier to be opposite her as Orlando. What Bergner wanted, Bergner got as her husband Paul Czinner produced the film. According to the book The Films of Laurence Olivier, Bergner and Olivier had some creative differences and relations were a bit chilly on the set.

This was the first time Olivier did Shakespeare for the screen or television and the only time he did not have creative control over what went out. He thought that the part of Orlando was as a dull romantic horse's patoot and not much could be done with it. When it came time to do Shakespeare again for the screen, Olivier would see it done right.

Still and all As You Like It is a charming antique and any time you can see Olivier do Shakespeare is time well spent.

The main role, Rosalind, is well-played by the cute, vivacious Bergner. Olivier is good with the physical stuff (very graceful) and the repartee. He tends to fall flat on the soliloquies and extended reveries, though. (And he's wearing way too much makeup, including at times some very crooked lipstick.) The costumes and sets are vivid, probably meant to suggest a fairy-tale, and thus account for the ridiculous plot devices.

And despite the comments of another reviewer, the camera-work is not all "point-and-shoot." It is a bit static by today's standards, but not by those of 1936.

The biggest liability is the muddy, distant sound.

All in all, I liked it more than the average filmed Shakespeare, though it's not great by any means.

This is a decent adaptation of Shakespeare's "As You Like It", with the main reason to watch being a young Laurence Olivier as Orlando. The rest of the production is adequate, although some aspects of it are a bit routine. The story follows the play closely, except that of course a good proportion of the lines, plus occasional scenes, are deleted to bring it down to its movie length of about 90 minutes. You can definitely see its age at times, even more so than with most movies of the era, but it does have some positives too.

Very few performers come near Olivier's standard when it comes to doing Shakespeare, and even though this was one of his earliest efforts, he is still pretty good, delivering the lines well, although perhaps more brooding than necessary. The other lead, Elisabeth Bergner as Rosalind, does give her character a distinctive turn, but it does not always work as well. Still, she has plenty of energy, and that helps a lot. The production actually seems to highlight her performance more so than Olivier's. The rest of the cast is OK, but does not always have a lot to do.

The best productions of Shakespeare enable even those not familiar with the play to appreciate it, and this one probably does not do that. It will be best enjoyed by those who like the play and who also are already used to movies of the era.