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.

Let's get the good things out of the way first. I loved the performances of Parminder Nagra as Viola and Chiwetel Ejiofor as Orsino; I quite liked the idea of using the back story that of asylum seekers (and the ambiguous ending where maybe it wasn't Viola's ideal happy ending); I thought using CCTV to watch Malvolio (a decent performance from Michael Maloney) in the garden was a great touch; and I liked the drum n bass feel to the songs.

But - overall I felt the poetry of the play to be stifled in its new home, and some characters to either be too cardboard (Richard Bremner's Andrew) or too coarse to gain audience connection (David Troughton, a superb stage actor, possibly miscast in this version as Toby). Tim Supple has a reputation in theatre for his invention and his risk-taking. I think perhaps Twelfth Night stopped just short of what he could have done with it within the context of battles between nations and genders. It is the kind of play which thrives with different interpretations, but this one just leaves you a bit disappointed by the end.

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.

I am not sure just what it is about TWELFTH NIGHT that makes it so difficult to mess up. Whether as movie or play, it's as close to a sure thing as Shakespeare ever wrote. I can't recall any production I have seen that didn't offer at least something worthwhile, and this new version--filmed probably for British or Scot television in 2003--boasts much more than that. Heavier on melancholy than most, it showcases a wonderful cast that's new to me (except for Parminder Nagra from "Bend It Like Beckham," Chiwetel Ejiofor from "Dirty Pretty Things" and Michael Maloney-- who makes a superb Malvolio).

Director Tim Supple (who also co-adapted) has set this in modern dress, and here the modern angle works terrifically well. Having the roles of Viola and Sebastian played by East Indians is also a smart move, adding a layer of Britain's colonial history to the mix. As well as I already know the play, I was often surprised at how Supple's visual choices uncovered new meaning to the script. And, as ever, the revealing of identities and mutual bonding at play's end moves us all over again. I think this sad and lovely version might be a good place for beginners to start--and confirmed 12th Night-lovers to continue their study.

I have always liked Shakespeare's Twelfth Night - it's my favourite play. As such, I have seen many versions of it, both on film and in the theatre. With a play as old as Shakespeare's are, that's performed as much as this one is, it's difficult to get an adaptation that's new. I think this version managed to do that without taking it so far out of context that it didn't make any sense. I really enjoyed this version, as it was completely different to any I've ever seen before. I thought the leading cast members were all very good, especially Parminder Nagra who plays Viola. I loved the setting and agree with the decision to leave the Shakespearean language, as I think modernising language in Shakespeare never works - I have never seen one that does. The language is as much a part of the play as the plot. Overall, I don't think it was quite as good as the 1996 film directed by Trevor Nunn, but that's setting an impossible standard.