Le songe d'une nuit d'été

This is not only the best version of the play available on film, it is easily one of the five best Shakespearian films of all (at least in English).

The fact that it was made on less than a shoestring budget is totally irrelevant. Whether or not there are any special effects, the photography by the renowned Peter Suschitzky ("Dead Ringers", "Empire Strikes Back", "Spider") is excellent. It's not only pictorial, but contributes greatly to the spontaneous, irreverent, slapstick-esquire approach to the whole production, which Peter Hall and his marvelous actors worked so hard to achieve. The locations are also ideal, given the modernized, anglicized look of the production.

Director Hall's interpretation of the play comes as close to 'perfection' as an enthusiast of the Bard could possibly ask for. He refuses to reduce the play to an erotic fantasy, as so many other have done (i.e. the 1999 film), and he rejects the even more common temptation to turn it into a loud, garish costume-ball. In other word, Hall presents the play as Shekespeare wrote it.It relies for its appeal on marvelous words and gestures, not on costumes and special effects.

As for the cast, one only need to look at the big names on the list to see that this production was literally one-of-a-kind. Actually the least famous major player in this company is the one most worthy of note: Paul Rogers, a wonderful character actor and a frequent collaborator of Alec Guinness, is quite possibly the best Bottom that most of us (in this day and age) are ever likely to see. Both Cagney and Kevin Kline were terrific in the major films, but Paul Rogers IS Bottom.

It says something about both film audiences and readers that the 1935 Warner Bros. film with James Cagney is rated more highly on the IMDb than this production. In that pretty but vapid collection of songs and dances, you could hardly hear any of Shakespeare's words, and if you could you would have to cringe, since almost none of the actors could adequately speak the lines. Cagney was good, but the rest was silence. GO WITH THIS VERSION INSTEAD! Fortunately, it was recently made available on DVD.

I was channel surfing one day and came upon this film. Unbelievable acting and costumes. I was glad I found it, most entertaining. This is one movie which should go down in history as one of the "must sees". Wish I could personally shake Clive Swift's hand for a wonderful performance in this classic, along with all the other performers! The "costumes" used to portray the individuals in each of their roles was wonderfully done. Also, the "life" put into each of Shakespeare's characters is outstanding. If one does not understand the play by reading it, one will surely understand it after watching this film! This is also a perfect film to see Clive Swift do some other acting other than his extraordinary performance upon "Keeping up Appearances".

Yes, there are flaws in editing, lighting and the like. These are probably the results of a relatively low production, and, perhaps of the fact that this was originally conceived as a TV film, and therefore as relatively ephemeral. The superb service given by director and cast to Shakespeare's language and characters far more than make up for any shortcomings. A better production of "Dream", for screen or stage, can hardly be imagined!

There were little jumps and quirks in this production by the Royal Shakespeare Company - but in reality they merely added to the otherworldly and ethereal overall effect. I liked the art design very much and found it charming. The cast was superb - and for those who only know Judi Dench as dowdy or as Queen Elizabeth, in this film she plays the queen of the fairies, Titania, in a costume consisting only of three small leaves! She might have been the sexiest Titania ever.

This is the Royal Shakespeare Company at its best. I mean, hey. Not only do we get a treat to Diana Rigg's Helena in her pre-Emma Peel days but look at lovely Helen Mirren's delightful Hermia. The youths, David Warner and Michael Jayston are great, twirled and swizzled by Ian Holm's delightful Puck messing up the good intentions of the bug-eyed Ian Richardson's Oberon. But, a semi-nude Judi Dench-- all in green-- is likewise delightful in her cavorting with Paul Rogers's Bottom. The rest of the players within a play, Swift, Shaw, Eccles, Normington and the great Bill Travers (who can ever forget him in 'Big Time Operators,' or 'Wee Geordie?')as Snout. There is wonder in this romp through the woods, where the lovers keep getting dirtier and dirtier, as the sprites, fairies and gnomes are green. This is a wonderful version that will only be approached 31 years later. As for the later (1996) RSC version..., well, you'll have to go there and see my comments. But, in my view, it can't approach the fun, mirth and joy of this wonderful production.