La nuit des rois

Slick Shakespeare adaptation, well acted and very humorous (in parts) in its telling. Naturally, there's always going to be some differences from stage to cinema. The film took advantage of this, of course, to avoid a "stage" feel. The perceptions, or rather the misperceptions, of people and motivations are well explored and portrayed. Ben Kingsley is a standout, for his interesting twist on the character Feste. In short, a good adaptation and film. Recommended.

Reading other reviews of 'Twelfth Night' it is interesting to see that some people think it is a slow film and others quite fast. It gripped me from the opening gust of rain on a dark night to Feste dancing off into the sunset. Grappling with Shakespeare is a perilous activity but I thought Trevor Nunn brought out the comedy and the emotions of the story well. It is a film to make you smile at the follies of mankind but also their charm.

Ben Kingsley is amazing. I've never seen Feste played that way but it seemed perfect. Imogen Stubbs does the comedy and the drama equally well. The scene with Orsino in the bathtub is a stock one but she does it beautifully, balancing the humour of the situation with the tenderness and the longing. Imelda Staunton brings unusual depth to the character of Maria. The rest of the cast are great too.

The text of the play is changed around but not unnaturally so. The scene that cuts between Feste's song and Viola/Cesario and Orsino playing cards is wonderful, taking in eight of the characters and telling you more about them. The last act of the play is difficult to stage well but Nunn gives it a good shot.

The Cornwall setting is lovely, the radiant sunshine, the green leaves and fine buildings are captured gorgeously by the cameras. I also liked the music very much and find some of the tunes quite hummable.

Very enjoyable and worth seeing again and again.

In Illyria, Orsino (Toby Stephens), a nobleman, is saddened because he cannot have the love of Lady Olivia (Helena Bonham-Carter) who is mourning the loss of her brother. Meanwhile, twins Sebastian (Stephen Mackintosh) and Viola (Imogen Stubbs) both survive a terrible shipwreck off the coast, but each thinks the other has died. Viola takes the guise of a man and goes to work in the household of the nobleman, falling in love with Duke Orsino. Meanwhile Olivia is taken with Viola who calls herself Cesario. This is the premise of one of William Shakespeare's most appealing comedies, Twelfth Night: Or What You Will, updated from Elizabethan England to late 19th century and brought to life by director Trevor Nunn. It is one of the best interpretations of Shakespeare that I have seen on film.

Reminiscent of other Shakespearean cross-dressing comedies such as As You Like It, Twelfth Night is mostly about the ins and outs of romantic love but it is also about pride, "overweening ambition", disguises, and mistaken identities. The play contains some of Shakespeare's most memorable characters: Sir Toby Belch (Mel Smith), Olivia's drunken uncle, his friend Sir Andrew Aguecheek (Richard E. Grant) who is also trying to court Olivia, Olivia's gentlewoman Maria (Imelda Staunton), Feste (Ben Kingsley), the house clown, and Malvolio (Nigel Hawthorne) the prudish steward. Nunn has assembled a cast that more than does justice to the play. Imogen Stubbs as Viola actually looks like a handsome young man and has a sense of purity and innocence that makes her instantly likable. Helena Bonham Carter brings warmth to the character of Olivia who like Orsino seems to be in love with the idea of love not the reality. Some have noticed a similarity between the character of Olivia and Queen Elizabeth and interestingly, Olivia is addressed by Feste as "madonna", the only time the word is used in all of Shakespeare, perhaps a wry comment about the myth of the Virgin Queen.

The main story involves a love triangle between Orsinio, Viola, and Olivia but the minor characters have more than ample time on stage. Malvolio is both a comic and a tragic figure, said to caricature Sir Christopher Hatton, a courtier, romantic pursuer of the Queen and rival of the Earl of Oxford. Hatton was so fawning Elizabeth called him her "sheep" or "mutton" and this allusion is present early in the play as Malvolio is called a "rascally sheep-biter", harking back to Hatton's letter assuring Elizabeth that "The sheep hath no tooth to bite while the Boar's (Oxford) tusk doth raze and tear." Malvolio is a puritan who rails against people having fun, a trait that earns him the enmity of Sir Toby and Maria. To strike back, Maria engineers a joke on Malvolio. She forges a love letter supposedly from Olivia telling him that if he wants her to notice him, he should dress in yellow stockings and crossed garters and, as he woos Olivia dressed in his strange attire, Malvolio cuts a ridiculous figure (incidentally this is the same costume worn by Henry VIII when he danced with Anne Boleyn, Queen Elizabeth's mother, at a masked ball, before he had her beheaded for adultery).

While there are many great performances, the star for me is Ben Kingsley who is totally convincing as Feste, a fool but a knowing one who functions as an objective commentator of the scene around him, exuding an air of righteous superiority. His portrayal of the priest Sir Topas who interrogates Malvolio in a darkened room has overtones of the 1581 trial and execution of Edmund Campion, a Jesuit priest who was executed by the English government in 1581. In his speech of less than fifty words, which appears to resemble nothing but nonsense, there are no less than five phrases which refer directly to Edmund Campion and his 1580-81 mission to England.

Richard Desper has pointed out that the mock trial scene works as a parody of the government persecution of Catholic martyrs. "The playwright," he writes, "demonstrates for us a world turned upside down, with clowns passing themselves off as men of learning, while men of learning …are pressed to deny what they believe to be true to serve political ends." The ending is too delightful to give anything away but it reminded me of the Ingmar Bergman comedy Smiles of a Summer Night, where mismatched couples get together at a summer cottage to sort everything out. Malvolio is pitiable in trying to redeem a shred of dignity but we feel for him when he exits saying, "I shall be revenged on the whole pack of you". As he leaves, he is the only person suffering in a sea of happy faces, those on screen as well as those at home.

A lively, bubbly production of one of Shakespeare's more difficult plays. It's hard to know just what Shakespeare was getting at with this story. The text doesn't always seem to make sense. That's reflected in this, as well as any other, production. At times, one wonders what the expressions on characters' faces are meant to indicate. Just after Feste has fooled Malvolio with his imitation of the curate, for instance, Maria has a perturbed look on her face. As if the joke that she herself so elaborately designed now troubles her. There's nothing in the text to indicate that her expression should show remorse; and yet Sir Toby soon after says that he's sick of the whole thing. Why? That's one example of the difficulty of the text (which may have been corrupted over the centuries), and how it is manifested in this particular production's choices. I don't know why Sir Toby remarks at this point that he's sick of the joke, nor do I know whether Maria should share his feelings.

Another difficulty is the role of Feste. Ben Kingsley fills this role, and because Ben Kingsley is a major star, he magnifies this character (in my opinion) out of all proportion. He becomes a sort of Zen master, pompous and oppressive. His jokes aren't funny (maybe we can't find Shakespeare's jokes funny today, but Kingsley's heavy delivery precludes humor), and his last confrontation with Malvolio comes off as a sort of thundering divine retribution. The entire play, the entire cast, stops dead and Feste takes over as if the whole point of the play has been his apotheosis at the expense of the degraded Malvolio. This surely cannot be what Shakespeare had in mind. Throughout the play he has a disconcerting habit of staring at other characters or the camera with what almost be described as a leer.

Maybe Shakespeare would have sighed and commiserated with the producer of this film, because the clowns in his day were also big stars who demanded a lot of meat in their roles. The trouble is that there just isn't much meat in Feste's role according to the text, so we're stuck with leers and thundering retribution and other inventions. Shakespeare had to accommodate his clowns with ever-more important roles, climaxing with characters like Touchstone and Lear's fool. Kingsley is just inventing his own character. At times his work is interesting, but his weight in the production is, as I said, oppressive.

Still, his screen time is relatively small, and much of the rest of the play is a joy, even if the point of the story isn't always clear. Bonham-Carter was never more alluring, Hawthorne is priceless as Malvolio (he was born for the role), and Smith and Grant are the perfect combination of Belch and Aguecheek. I suppose you might object that all four of them put their eyebrows to such prodigious use that their acting might be characterized as hamming. But I don't see how any of these characters can be played straight if the play is to work.

One thing is for sure, no one would ever accuse this production of bogging down. The pace is lively, the sets and the cinematography are always striking, the score is invigorating, and I suspect that I could watch this film dubbed in Swahili and it would still be a lot of fun. Visually arresting is perhaps the best description.

In writing Twelfth Night (and the same goes for many other of his romantic comedies), Shakespeare showed that he was not only a genius at dark tragedy but also at light comedy. I saw a junior college production of this play which did live up to Shakespeare's intentions, which was in fact so funny I was falling off my chair.

Unfortunately, director Nunn will not allow a hilarious slapstick comedy to just be a hilarious slapstick comedy. Apparently he succumbed to the notion that everything Shakespearean has somehow to seem profound, which in this case results in an attempt to transfer this light, sparkling comedy, full of deliberately overdrawn characters and silly lines and pratfalls, into a brooding tragedy in which pompous ass Malvolio acts as if he were, or imagined himself to be, Hamlet caught in the wrong play, while clown Feste is misanthropic to the point of sadism. There is no suggestion of comic timing anywhere in this film!

It appears that once Nunn decided to insist on a modern-dress version, he adopted as his mentor the let's-portray-the-messed-up-dysfunctional-household school. This is stupid. A better mentor would have been a closer modern equivalent of what Shakespeare was doing in this play. Something like I Love Lucy or Amos 'n' Andy or The Honeymooners, in other words.

One thing that entirely puzzles me is: why the devil didn't Nunn exploit the particular advantages of the cinema in depicting this gender-bender story of a girl impersonating a look-alike boy? Why in sam hill didn't Nunn have a male actor who is skilled at female impersonation, or an actress skilled at impersonating males, play both roles on a split screen? (See, for the sort of impersonation I refer to, Vanessa Redgrave as the trans-sexual tennis player in Second Serve.) In other words: Why transform a stage play into a film at all, if you're not going to put the advantages of the cinema, as opposed to those of the stage, to work? Nunn's treatment of this play is not only a mangled interpretation, it's unimaginative.

Ben Kingsley is the only performer who does very much with his part, and what he does he does very well. His acting creates a very interesting character, and his interpretation of Feste is certainly consistent, but it receives no support whatsoever from the text.