A Midsummer Night's Dream Directed by Michael Hoffman
A film review by Marty Mapes Copyright 1999 Marty Mapes
*** (out of 4) I'll start the film review with points against, because by criticizing at the start (and since the criticisms are but small) we put behind us things unpleasant, which, though necessary if one wants to share the truth, do not comprise the all of one's experience watching Hoffman's film.
This version of A Midsummer Night's Dream at 19th century's turn's suppos'dly set (though "turn" in this case surely means the last, for phonographs in 1800 would be out of place). But let's not fret o'er when it's set; suffice to say that it was long ago.
The setting isn't modern like the one Baz Luhrmann used when he made Romeo + Juliet some two or three years past. Nor is the setting bold and striking like McKellen and Loncraine's Richard III which looks and feels like Nazi Germany (it's chilling to the bone and worth a rent.)
The point is that this film does not have one odd thing about it, leading one to ask: "Why now? Why film? Why not a trav'ling play?" Effects most special? Not particul'y (although the fairies made of light are neat). Amazing sound and music? Not to me. (although I think the music rang a bell) I guess that Hoffman simply wished to tell a lightweight tale for summer moviegoers.
"Lightweight" describes the film most fittingly, unless perhaps you know of what I speak when I say "fluff." But "fluff" is not the worst of jibes; in fact a very pleasant time is eas'ly had at movies which are fluff.
In short: it's nothing special and it's fluff, and that was it. That's all the bad I had to say about this film. (Espesh'ly since I thought I wouldn't mention the first scene with Michelle Pfeiffer -- her deliv'ry was not great and sounded wooden. But, quite soon the feeling passed and so I thought I'd leave those unkind words unwritten in my piece).
And so we leave the critical behind.
At this point in reviews I often find it's time to summarize the movie's plot, but this time I will not. For since the film's retelling is quite faithful, I'll not bore you with the details -- you can always look them up in any tome of Shakespeare's work. (In fact there's even now a "dummies" book!)
The changes Hoffman made, (he wrote the script as well), it seems to me were mostly made to make the dialogue seem more like speech and less like speeches. Shakespeare's words and deeds were left intact as far as I can tell.
Okay, a little -- little! -- summary to save you looking up the movie's plots. (I say instead of "plot," the plural. Yes, this film has two threads, prob'ly more, but I'll just keep my myself to two, for breviphiles.)
The first one is a love triangle, but it is a square, because it has four sides: Fair Helena fawns o'er Demetrius, who loves her not; for he loves Hermia. In fact, he'll marry her, though not because she loves him back. ‘Tis father's whim to whom she'll wed; and he doth pick Demetrius. But Hermia loves good Lysander, and he requites her love, which means that of the four sides to our square, just Helena's unloved.
The other thread tells of the fairy king and how his plot to tease his wife ensnares a simple weaver/actor by the name of Bottom. (He's the one, and this the play, where human head turns into ass's head.)
That's all the summary you'll get from me. There's more, but ‘tis of no immense import.
The film deserves some praise, now that we've moved beyond the summary and criticism, And most of it belongs to Hoffman's cast: a fine job all around and in all roles.
Though Kevin Kline (as Bottom) gets the first screen credit at the end, the credits at the film's beginning show the players' names in alphabetic order. In that way ensemble acting's emphasized o'er "stars" or egos. Quite refreshing, I do say.
Puck (Stanley Tucci), gray and bald, still has a spritely step along with some of Dream's most funny lines. Calista Flockhart shines as our fair Helena, and though comes close, she never whines (a fear that's grounded in her TV past). And Kevin Kline can act the fool in such a charming way that you can love him, foolish mortal though he be.
You'll surely recognize the faces of the other actors, even if you don't know what their names may be. Of more import, though, is that all performances are good. Nor Rupert Everett (as the Fairy King -- don't laugh), nor Pfeiffer as his wife are bad, though both of them are flatter than the rest.
So all in all A Midsummer Night's Dream is pretty good, considering it's fluff. And if you have a couple hours to spare -- say Star Wars is sold out and you have made no other plans -- see Kline and Tucci play their parts. It may not change your life but for an afternoon you will be entertained.
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_____ Marty Mapes mmapes@moviehabit.com
Movie Habit http://www.moviehabit.com
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