TWELFTH NIGHT
A film review by Steve Rhodes
Copyright 1996 Steve Rhodes
RATING (0 TO ****): ** 1/2
Shakespeare has become a hot author of late in Hollywood. He is pushing out Jane Austin and Henry James as the dead author of choice. Director and writer Trevor Nunn's (HEDDA and LADY JANE) TWELFTH NIGHT proves my thesis that even a mediocre film adaptation of one of the Bard's plays is well worth savoring.
Trevor Nunn's LADY JANE was a touching piece of filmmaking, but his TWELFTH NIGHT is fairly inaccessible due to the by-the-numbers acting of most of the principals. The adaptation of the text is quite literal, but the passion and the chemistry is not up to par.
According to the film's press kit, TWELFTH NIGHT is "the most popular of all of Shakespeare's comedies." As far as plays go, I don't think I agree, but when it comes to films, I know that Kenneth Branagh's MUCH ADO ABOUT NOTHING is much better than Nunn's TWELFTH NIGHT.
TWELFTH NIGHT also suffers in comparison to Baz Luhrmann's recent ROMEO AND JULIET which he transformed into an extremely high energy and audacious comedy. TWELFTH NIGHT seems lifeless in comparison. Granted TWELFTH NIGHT is a much more traditional rendition, but ROMEO AND JULIET is much more involving and fun even if it is a romantic tragedy recast into a comedic farce.
TWELFTH NIGHT is a typical Shakespearean comedy full of ambiguities and errors about identities and intentions. Nothing is quite what it seems to be, but the audience is in on the tricks and mistakes. The script is full of subtleties and complexities that the actors have to flesh out.
The show starts with a shipwreck off the coast of Illyria where twins Viola (Imogen Stubbs from SENSE AND SENSIBILITY and A SUMMER STORY) and Sebastian (Stephen Mackintosh) both think the other has perished. They not only look alike; they even make their living as actors where Viola dresses up as a male complete with a false mustache just like Sebastian's. Although she looks like a woman trying to look like a man, it is enough to entertain the passengers.
"If music be the food of love, play on," says Duke Orsino of Illyria (Toby Stephens) as Viola, now called Cesario, plays in drag. Orsino enlists Cesario to court Countess Olivia (Helena Bonham Carter from HOWARDS END and LADY JANE) on his behalf, but it is not that simple as Olivia ends up falling for Cesario and Cesario for Orsino.
The most interesting and outlandish acting is done by Nigel Hawthorne (THE MADNESS OF KING GEORGE) as Malvolio. Malvolio is tricked into believing that Olivia is in love with him and that all he needs to do is wear bright yellow stockings and smile incessantly to signify his love for her. Olivia is not in on the joke and is bemused by his sudden change in behavior.
"I am not what I am," confesses Cesario to Olivia. Later she tells Orsino, "I am all the daughters of my father's house and the brothers too." The film subtlety examines the characters' bisexuality. Most of this is done in knowing looks and quick kisses and is one of few times the movie really comes alive.
"Why, this is very midsummer's madness," claims Olivia. The problem with the picture is that it isn't. Other than Hawthorne's performance, it is very tame.
The ending is the best part of the play. As Olivia says, it is "most wonderful."
Technically the film is more successful. The cinematography by Clive Tickner radiates golden autumnal colors. Shaun Davey's music is majestic as would befit a much more substantial and serious movie. My favorite little touch is the hats created by John Bright for the soldiers. They wear what can only described as an elevated mortar board on their heads. I laughed every time I saw them.
The full name for the play is "Twelfth Night; or, What You Will." With "what you will" meaning roughly "whatever" in today's vernacular. "Whatever" is my reaction to this adaptation, but I did enjoy hearing the lilt of Shakespearean verse while I soaked in the lush countryside and listened to the music.
TWELFTH NIGHT runs 2:05. It is rated PG, but there is no sex, nudity, bad language, or violence other than some fights in jest. It is basically a G film so any kid old enough to be interested could see it. Although I wish it had been more involving and lively, I did have a good time so I give it a thumbs up and ** 1/2.
**** = One of the top few films of this or any year. A must see film. *** = Excellent show. Look for it. ** = Average movie. Kind of enjoyable. * = Poor show. Don't waste your money. 0 = One of the worst films of this or any year. Totally unbearable.
REVIEW WRITTEN ON: October 31, 1996
Opinions expressed are mine and not meant to reflect my employer's.
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