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Tag Archives: William Shakespeare

Macbeth

23 Wednesday Nov 2016

Posted by vinnieh in Movie Reviews

≈ 49 Comments

Tags

2010's, David Thewlis, Jack Reynor, Justin Kurzel, Macbeth, Marion Cotillard, Michael Fassbender, Paddy Considine, Sean Harris, Tragedy, William Shakespeare

Film Title

Macbeth

Director

Justin Kurzel

Starring

  • Michael Fassbender as Macbeth
  • Marion Cotillard as Lady Macbeth
  • Paddy Considine as Banquo
  • Sean Harris as Macduff
  • Jack Reynor as Malcolm
  • David Thewlis as King Duncan

Shakespeare’s classic play Macbeth is one that is often committed to film many a time, but this version of the tragedy has enough clout and striking atmosphere to distinguish it from the crowd.

The film begins on a Scottish battlefield as civil war is raging. Lord Macbeth is fighting for the cause of King Duncan against the opposition. macbeth-2015-posterThe battle is a bloody one and following events will also change for Macbeth. After the battle, Macbeth encounters a group of witches who tell him of a prophecy that he will be king. The other part of the foreshadowing is that his friend and fellow fighter Banquo’s descendants will also be kings in the future, as Macbeth’s child has died. This prophecy, in particular the fact that he will become king, haunts and consumes Macbeth, who is unsure of how to react to it. Yet spurred on by the deep ambitions of his manipulative wife Lady Macbeth, he goes through with the deed and kills King Duncan. The King’s son Malcolm sees what has happened yet flees, leaving the throne wide open to Macbeth, who already holds a significant title. Macbeth, thanks to the murder he committed with the help of his wife, is crowned King just like the prophecy of the witches said. michael-fassbender-macbethBut the grips of paranoia seize Macbeth and he is haunted by his actions. People grow suspicious of Macbeth and his ways, in particular Banquo and Macduff. This brings out the depraved cruelty within him that begins to wipe out anyone who stands in the way of his tyrannical rule. Soon Macbeth is spiraling into full-on delusional behaviour and outright savagery, as what was once good inside him shatters in the wake of his viciousness and ambition.

Adapting anything from Shakespeare must be a challenge, as you want to  stamp your own impression on the material and not just follow suit of everyone else, though keeping the feeling of the play is crucial to. No one need worry though with Justin Kurzel in the director’s seat. He makes this Macbeth bold, uncompromising and daring in style and content. macbeth-and-lady-macbethI’ve always seen Macbeth as something of a cinematic work, and Kurzel holds control over events like a maestro conductor with a dazzling repertoire of celluloid techniques that thrust the story into visceral and dark life. Mist and oppressive setting of the film gives grandiose and spooky ambience to Macbeth, that ensures that the coldness and savagery we witness practically seeps off the screen into our conscience. Gothic splendour exudes from almost every frame before we get an orange-red climax that is an exhilarating spectacle of overflowing anguish and corrupting darkness in which Macbeth faces off with Macduff. Macbeth should also be praised for adhering to the text in a largely faithful manner. It doesn’t try to bring anything up to date and has the verse intact, allowing the actors to savour the lines they are given. A Celtic influenced score matches the events beat for beat as treachery and murder ultimately take hold of almost every character.

At the heart of the film there is Michael Fassbender, who is searing as the eponymous character. Displaying a an engulfing ferocity that becomes more impossible to contain, Fassbender truly draws out the menace and cruelty of Macbeth. Yet in quite a few instances he humanizes the character a little bit, so you can practically feel the anguish and growing paranoia from the moment he stabs Duncan and begins his downward spiral. Fassbender is truly on fine form as Macbeth, wrapping his voice around every syllable with a commanding performance of intensity and suffering. Matching him move for move is Marion Cotillard as the driving force which is Lady Macbeth. lady-macbeth-marion-cotillardShe’s a calculating woman of dark ambition that Cotillard plays to the hilt with a sometimes mask like detachment that serves the character well and gets the audience to puzzle over what is going on in her head. With the added sub-plot of her losing a child, Cotillard works wonders in unfurling that maybe Lady Macbeth has filled the devastating void left my her loss with a ruthless and cruel plots of which she has control over. It’s a different interpretation of the character that is all the better for the uniqueness that Cotillard provides, especially in the later scenes of a guilt-ridden woman knowing that a lot of her husband’s descent is by her own hand. The excellent supporting cast is strong and includes David Thewlis, Paddy Considine , Sean Harris and Jack Reynor. Each of these respective actors is fine in their roles, though the film ultimately belongs to Michael Fassbender and Marion Cotillard.

A visceral, violent and bold retelling of the play, Macbeth brings the action to the cinematic heights yet never sacrifices the intimacy or verse of the source material. Shakespeare never looked so brutal and entrancing as it does here.

A Midsummer Night’s Dream

26 Sunday Jun 2016

Posted by vinnieh in Movie Reviews

≈ 32 Comments

Tags

1990's, A Midsummer Night's Dream, Anna Friel, Bernard Hill, Calista Flockhart, Christian Bale, Comedy, David Strathairn, Dominic West, Fantasy, Kevin Kline, Michael Hoffman, Michelle Pfeiffer, Romance, Rupert Everett, Sam Rockwell, Sophie Marceau, Stanley Tucci, William Shakespeare

Film Title

A Midsummer Night’s Dream

Director

Michael Hoffman

Starring

  • Kevin Kline as Nick Bottom
  • Michelle Pfeiffer as Titania
  • Rupert Everett as Oberon
  • Calista Flockhart as Helena
  • Anna Friel as Hermia
  • Dominic West as Lysander
  • Christian Bale as Demetrius
  • Stanley Tucci as Puck
  • David Strathairn as Theseus
  • Sophie Marceau as Hippolyta
  • Bernard Hill as Egeus
  • Sam Rockwell as Francis Flute

A well cast and amusing adaptation of the classic Shakespeare comedy, A Midsummer Night’s Dream gets points for direction, writing and acting. Yes it isn’t the best Shakespeare adaptation there is and there are a few flaws, but by and large it’s a success of love’s complications, romantic entanglements and mischievous magic.

The setting is Italy near the beginning of the twentieth century( in the play the setting is Greece). The Duke Theseus is preparing for his upcoming marriage to Hippolyta. He is a respected man and is asked near the beginning to help Egeus with his problem. A Midsummer Nights Dream posterThe problem in question is his daughter Hermia, who he has betrothed to Demetrius. Hermia is actually enamored with Lysander, but their love is forbidden. With Hermia being forced to marry Demetrius, the young lady and her lover Lysander secretly plan to elope. Meanwhile, Hermia’s friend Helena pines for the moody Demetrius, but to no avail as he loves Hermia. The downtrodden Helena seizes the opportunity to make an impression on Demetrius by informing him of Hermia and Lysander’s plans to run away one night through the nearby forest. Demetrius follows the two star-crossed lovers deep into the forest, with the desperate Helena behind him. Yet what none of the four realise is that the forest is inhabited by fairies, and most importantly the fairy King Oberon and his wife Queen Titania. The couple is going through trouble and their differences begin to hold sway on the fates of the four young lovers in the forest. The scheming Oberon, to get back at Titania, devises an amusing plan and enlists the help of loyal but mischief-loving sprite Puck to help. By obtaining a magical flower and applying the nectar of it to the eyelids of Titania, when she awakens she will fall in love with the first person she sees. Into this game unintentionally comes the talkative actor Nick Bottom and his company, who are rehearsing a play to perform at the upcoming wedding. Bottom and TitaniaUsing the flower on Titania and then turning the unsuspecting Bottom into a donkey, a funny beginning of events flourishes as Titania becomes smitten with the transformed Bottom, much to the actor’s surprise and delight. Oberon also asks Puck to help out Helena so that Demetrius falls in love with her. But naughty Puck accidentally mistakes Lysander for Demetrius and soon enough chaos ensues as the romances interlink and much squabbling occurs thanks to Puck’s devilish intervention.

Michael Hoffman successfully translates the enjoyable and funny qualities of the play to the screen with both imagination and inventiveness. He updates the setting to pre-twentieth century and it actually works very well, though I’m sure purists may quibble and take issue with it. The update allows for some beautiful scenery and gorgeous cinematography that is marvellous. A few parts of his direction are flawed, such as letting some scenes in the middle to lumber on longer than necessary, yet his overall control and skill is evidence throughout as he retains the riotous humour of the piece. OberonHoffman also is adept at being scriptwriter, bringing the fantasy and romantic switch ups into full fruition with humour and style and sticking to Shakespeare’s poetic verve. A vibe of sexiness is ever-present through this film; found in the double entendres and the presence of Cupid gone awry, causing humorous and unexpected matches. A modernity also pervades many parts of this adaptation, with the literal mud-slinging style catfight between Hermia and Helena a highlight. Set design, particularly in the enchanted forest and Titania’s otherworldly domain, has a definite theatrical quality that feels right for something like A Midsummer Night’s Dream, yet is embellished by the beauty of cinematic eyes and the gorgeousness that celluloid can provide. A light and twinkling score, also infused with some grand operatic arias, sets the pace of the film and what will follow with playful glee.

A handsomely star-studded cast fleshes out the roles of this romantic comic fantasy and are skilled with speaking Shakespeare’s words. The biggest standout is Kevin Kline, who is in his element as the buffoonish but strangely touching Bottom. By balancing the two aspects of comedy and pathos, Kline rules the roost and gives his all to the comic yet poignant character whose garrulous ways and thespian dreams are turned on their head by the adventure in the forest. An effervescent Michelle Pfeiffer is ideally cast as Titania; radiating imperious mannerisms and sweet love especially when funnily bewitched by a transformed Bottom. Not only does Pfeiffer look the part, she plays it extremely well and with ethereal poise. Rupert Everett, with his smooth voice and rakish demeanor, makes for an appropriately louche Oberon, whose schemes are both amusingly wicked and benevolent yet flawed. A Midsummer Nights Dream Hermia Helena Lysander and DemetriusCalista Flockhart is an inspired choice for the part of Helena, emerging both as earnestly passionate but unlucky and wittily sharp. Flockhart’s performance which takes on a tragicomic nature is up there with Kline as one of the standouts within A Midsummer Night’s Dream. An appealing performance of spirit and vivacity is given by the gorgeous Anna Friel, who gets some very good lines as the star-crossed Hermia. Both Dominic West and Christian Bale have fun as Lysander and Demetrius, who more often than not are sparring partners battling for the affections of Helena and Hermia thanks to the magical mix up. Lending impish relish, sprightly naughtiness and hilarious moments is the ever reliable Stanley Tucci portraying Puck, whose attempts at bringing lovers together go rather awry. Now in supporting roles we have David Strathairn, Sophie Marceau, Bernard Hill and Sam Rockwell, who are all actors I very much admire. The trouble is they aren’t utilized  well enough here and the film could have benefited from showing them a bit more.

Purists may balk at the change of setting and it must be said that a few parts of the film could have been trimmed, yet A Midsummer Night’s Dream is a warmly funny and sexy interpretation of the play from the Bard.

Hamlet(1990)

19 Friday Sep 2014

Posted by vinnieh in Movie Reviews

≈ 7 Comments

Tags

1990's, Alan Bates, Franco Zeffirelli, Glenn Close, Hamlet, Helena Bonham Carter, Ian Holm, Mel Gibson, Nathaniel Parker, Paul Scofield, Stephen Dillane, Tragedy, William Shakespeare

Film Title

Hamlet

Director

Franco Zeffirelli

Starring

  • Mel Gibson as Prince Hamlet
  • Glenn Close as Queen Gertrude
  • Alan Bates as King Claudius
  • Helena Bonham Carter as Ophelia
  • Ian Holm as Polonius
  • Paul Scofield as the ghost of King Hamlet
  • Stephen Dillane as Horatio
  • Nathaniel Parker as Laertes

In this adaptation of the classic William  Shakespeare tragedy, Franco Zeffirelli assembles an unexpected but engaging cast and directs with vigour and atmospheric skill in an attempt to show an individuality from other versions of the play. And he certainly does a good job of it.

The film begins with the funeral of Hamlet’s father, the King of Denmark. Hamlet’s mother Gertrude is saddened but seems a little too close to her late husband’s brother Claudius. Surely enough, the two marry soon after and Claudius becomes king. Hamlet 1990The young Prince Hamlet is puzzled by this courtship at first, but information regarding the sudden remarriage soon comes his way in eerie fashion. One night after hearing from his trusted friend Horatio that an apparition has been wandering around the castle at night, he is visited by the ghost of his father, who informs him that he was murdered by Claudius so he could take the throne. Hamlet swears revenge on his uncle and descends into madness as he attempts to complete the murderous task.

The first thing to note in Hamlet is the visual style. Dark and hushed shades of blue over the castle, which are juxtaposed with glaring images of sun capture the themes of life and death and the complementary nature of each. The camerawork is stunning as it glides around the surroundings and quite often nestles close to a character, this technique is especially useful and full of impact when Hamlet delivers monologues. Ennio Morricone provides the atmospheric and melancholy music, giving Hamlet a gloomy and suspenseful edge. What many purists will take issue with is the removal of certain parts of dialogue and the transference of certain pieces into different scenes. Yet, with this the film has a strong pace and in some ways makes it more accessible to those unfamiliar with the play. Only at certain times does the removal of parts of dialogue cause Hamlet to lose its way.

Heading the cast is Mel Gibson as Hamlet. At first I wasn’t sure that Gibson would fit the role of Hamlet, but surprisingly he makes the role his own. He contributes vigor, sadness and madness to the part as Hamlet becomes more vengeful and his delivery of dialogue is excellent. Unlike many who portray Hamlet as constantly brooding, Gibson has more fun with the role by adding intelligence and a playful smile which eventually gives way to sinister grins . Glenn Close is effectively cast as Gertrude who changes from grieving widow into a sexually liberated woman after marrying Claudius. The scenes between Close and Gibson are interesting to watch because of the ambiguous nature of their relationship. This unusual examination of mother-son relations adds dimension to the story and adds an edge to the classic piece by giving it more dramatic prominence. Alan Bates makes for a quietly villainous Claudius, whose scheming is masked by a courteous exterior. Helena Bonham Carter brings deep sadness to the role of the tragic Ophelia, whose treatment at the hands of Hamlet sends her spiralling out of control. The sight of her bare foot, chanting old love songs with wild eyes and mournful voice whilst wandering around the castle is a chilling sight to behold. Ian Holm makes for an intelligent Polonius, while Paul Scofield gives wisdom to the part of the King’s ghost. In supporting roles, Stephen Dillane and Nathaniel Parker are wonderfully effective in the parts of Horatio and Laertes.

Liberties taken with the text aside, Zeffirelli makes a vigorous movie of Hamlet that adds another spin to the classic tragedy.

Coriolanus

13 Saturday Sep 2014

Posted by vinnieh in Movie Reviews

≈ 19 Comments

Tags

2010's, Brian Cox, Coriolanus, Gerard Butler, James Nesbitt, Jessica Chastain, Paul Jesson, Ralph Fiennes, Tragedy, Vanessa Redgrave, William Shakespeare

Film Title

Coriolanus

Director

Ralph Fiennes

Starring

  • Ralph Fiennes as Caius Martius Coriolanus
  • Gerard Butler as Tullus Aufidius
  • Vanessa Redgrave as Volumnia
  • Brian Cox as Menenius
  • Jessica Chastain as Virgilia
  • James Nesbitt as Sicinius
  • Paul Jesson as Brutus

A visceral, blood-soaked modern-day adaptation of the William Shakespeare tragedy which marks the directorial debut of Ralph Fiennes, Coriolanus proves that Shakespeare is just as relevant today as he has ever been with themes of political manipulation and war.

In a battle ravaged version of Rome, riots are taking place on the streets due to a shortage of food and a brutal war is raging against the neighbouring Volscians. The brilliant Roman general Caius Martius is a vicious and brutal warrior  just returning from combat with his old enemy Tullus Aufidius.Coriolanus Poster Upon arrival, he is bestowed with the powerful title of Coriolanus. His ambitious mother Volumnia and influential Senator Menenius persuade him to run for political office, but this doesn’t fair well with Coriolanus as he looks down at the common people and sees them as contemptible. He does however obey his mother and strive for power within the political sphere. Other members of the senate have different ideas about this and begin to incur the wrath of the people who detest his arrogance and slander towards them. This causes them to rise up against the general and he is subsequently banished from Rome as a traitor. Once banished, Coriolanus wanders through the war-torn countryside and comes across his sworn enemy Aufidius. Betrayed by his people and filled with deep rage, Coriolanus forms an unlikely alliance with his old opponent and they plan to take revenge on Rome.

With his directorial debut, Ralph Fiennes brings a gritty realism to the scenes of war and utilises close-ups and dizzying tracking shots to get to the heart of emotion. Updating Shakespeare into a modern context must have provided a challenge, but Fiennes pull it off admirably and shows that the Bard’s work can be applied to modern events just as it is classic events from centuries ago. Admittedly, at first hearing the classical dialogue of Shakespeare spoken in a modern setting can be hard to understand and get used to, but once you become attuned to the words and style the benefits of Coriolanus are deeply rewarding. The score is laced with a militant precision as Coriolanus begins his encroaching plans for revenge with the aid of his old enemy and the impending notion of tragedy.

What really gives Coriolanus its power is the astonishing cast assembled. In the title role, Ralph Fiennes is fierce, arrogant and raging as he changes from ‘man to dragon’ and declares vengeance on Rome. Fiennes gives the role his all and really gets to the heart of this complex character with his powerful delivery and barely contained intensity that radiates from his eyes. Gerard Butler is impressively tough and suspecting as his sworn enemy who becomes an ally. Vanessa Redgrave is brilliant as Volumnia, the autocratic mother of Coriolanus. Ambitious, influential and  overly supportive, Redgrave brings a whole range of emotions to the part of this matriarch and speaks her lines with authority and confidence. Her scenes are electrifying with Ralph Fiennes as she attempts to reason with him, whilst also issuing her powerful and domineering hold over her son. Brian Cox is effectively used as a powerful Senator who is firmly on the side of Coriolanus, whilst Jessica Chastain exudes vulnerability and tenderness as Virgilia, the wife of Coriolanus. James Nesbitt and Paul Jesson relish their roles as politicians who succeed in manipulating events so that Coriolanus is banished.

Dramatic, violent and gripping, Coriolanus is Shakespeare updated in visceral and powerful fashion, boasting fantastic performances and assured direction.

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