Showing posts with label shakespeare. Show all posts
Showing posts with label shakespeare. Show all posts

6/02/2012

Me and Orson Welles (2009) Review

Me and Orson Welles (2009)
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Orson Welles was a genius in many, many areas. He was an incredible actor, a brilliant director and a showman of the first order. He was also, from many accounts, a major jerk; obsessive and controlling, manipulative and unpleasant. Someone who at least as nasty to his friends as to his enemies. He was, to lift a quote from a certain movie, not a brutal man, but a man who did brutal things.
All these elements of his considerable personality are on display in Richard Linkletter's newest film, Me and Orson Welles. The movie tells the story of a seventeen-year-old boy named Richard (though he's mostly referred to as "Junior"). He's played by Zac Efron (looking sexier than ever), in his finest role to date, which isn't saying a lot.
Richard is a reasonably naive boy who winds up meeting Welles as the great man is preparing for his 1937 stage production of Julius Caesar, a ground-breaking presentation that moved the story into modern times, dressing the cast in fascist uniforms and casting an obvious Jew as the poet Cinna. Richard ends up in the play as a servant to Welles' Brutus, a role which requires him to learn to play the ukulele after claiming he already knew how.
Richard meets all the famous players of the Mercury Theatre, most notably Joseph Cotton, Norman Lloyd and George Coulouris. He also meets, and falls in love with, the beautiful Sonja Jones (Claire Danes). Like Richard, she's a fictional character, and also like Richard, she's far less interesting than the real characters around them.
The movie is completely stolen by Christian McKay's performance as Welles. It is as letter-perfect as any I've ever seen. He has the look, he has the voice and he has the attitude of Welles, playing him as a man who never bothered to merely speak when he could instead declaim. He simply is Welles, warts and all. Expect his performance to get a Best Supporting Actor nomination, and probable win, at the next Oscars.
This is probably the best movie I've seen this year, with Up in the Air as a very close second. The movie captures the spirit of the theatre and the character of Welles like no movie I've ever seen before. I cannot possibly praise it enough. It might be hard to find in your area (it's considered something of an art film), but if you can track it down, it's well worth seeing.

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5/29/2012

Kiss Me Kate (Broadway Revival - PBS Great Performances) (2003) Review

Kiss Me Kate (Broadway Revival - PBS Great Performances)  (2003)
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`Kiss Me Kate', Winner of 5 Tony Awards, 6 Drama Desk Awards and 4 Outer Critics Awards including Best Musical Revival, is a wonderful production with breathtaking performances from a stellar cast including Brent Barrett and Rachel York. What I want to clear up is the criticism of the DVD. I have to disagree with everything negative said - the sound is fine and a pleasant balance of orchestra and vocal with a crisp clarity.
Secondly, the DVD is widescreen and captures a lot of the onstage `business'. Indeed the cameras do follow the main action, but never misses anything. It has been filmed by people who both appreciate the performance, the art and the intention of Michael Blakemore. Since he directed it and then adapted `Kiss Me Kate' for television, surely he of all people knows what needs to be filmed?
Always, the performance has an `on stage' feel and I urge you to ignore the exaggerated views of others here. Sound is good, video is good, DVD menu is good and I guarantee that you'll be as enthusiastic about the DVD as I was today after watching it. Maybe the others need to appreciate that this is a stage `adaptation' as stated on the DVD case.

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The first Broadway revival in nearly 50 years of the musical comedymasterpiece by composer Cole Porter and book writers Sam and Bella Spewack not onlyenchanted critics and delighted audiences, but went on to triumph as one of the biggestprize winners of the 2000 season. Taking its inspiration from Shakespeare, this hilarious romp recounts the backstage and on-stage antics of two feuding romances during an out-of-town tryout for a musical adaptation of The Taming of the Shrew. Sparkling with 18 classic Cole Porter songs including "Another Op'nin', Another Show," "Wunderbar," "So in Love," "Always True to You in My Fashion," "Too Darn Hot," and "Brush Up Your Shakespeare" this is Broadway musical comedy at its irresistible best. Directed by Michael Blakemore, this Tony winner for "Best Revival" stars Brent Barrett, Rachel York (Victor/Victoria), Nancy Anderson and Michael Berresse as the squabbling couples whose offstage disputes entangle them with a pair of song-and-dance gangsters and a pompous U.S. army general.

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5/24/2012

The Taming of the Shrew (1976) Review

The Taming of the Shrew (1976)
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In my almost complete collection of Shakespeare DVDs this is a unique pearl. I could not believe the other review at amazon.co.uk. After very long hesitation I purchased the region 2 encoded version with the unhelpful Netherland undertitling.
This was the effect:
On Wednesday I watched it alone, on Thursday with my friend, on the weekend with the whole family; and the next weekend with friends of the family. We had such a great fun, that for weeks we were quoting to each other from the movie!
Never before or afterwards did I see a record of this play performed in such a witty and screwball-comedy-like way - and still in a very understandable language.
If a fairy would grant me two wishes, I would have this play digitally remastered and other plays of the bard performed in this way too...

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5/22/2012

The Taming of the Shrew (Broadway Theatre Archive) (1976) Review

The Taming of the Shrew (Broadway Theatre Archive)  (1976)
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Riveting high energy interpretation of one of Shakespeare's more problematic comedies. The director's decision to present this somewhat sexist comedy as an over-the-top commedia dell'ate production was brilliant. Patruchio's use of physical violence to tame his headstrong finacee is somehow made tolerable because all the relationships in this play are embued with violence. And like characters in a Roadrunner cartoon, victims bounce back with vigor and always manage to give as good as they get. The troupe is incredibly in sync with one another, highly athletic, and incredibly gifted at reciting their iambic pentameter flawlessly while being twirled overhead or kicked in the groin. It really has to be seen to be believed. And who knew Marc Singer, the Beastmaster, could act?! In the end, he brings a subtlety to his part that leaves you wondering who's taming whom?
Harold Clurmann's interview with the director is a nice DVD extra.

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5/14/2012

The Reduced Shakespeare Company - The Complete Works of William Shakespeare (Abridged) Review

The Reduced Shakespeare Company - The Complete Works of William Shakespeare (Abridged)
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When the Reduced Shakespeare Company performs , it is a case of three apparently indefatigable actors (Adam Long, Reed Martin, Austin Tichenor) whirlwinding through the plays, some of which are barely mentioned, some of which are treated at greater length--all in 90 minutes. Well, the Good News is that the show is now available from Acorn Media on a VHS. (Note: this video contains material not shown on PBS.)
To cut to the chase, you really have to know your Bard to get all the jokes. Treating "Titus Andronicus" as a cooking class works if you are familiar enough with the plot (the recent movie might help here); and unless you know your English kings from Richard II to Richard III (with all the Henrys in the middle), the football game with a crown as ball will have little meaning. ( I thought the line about cutting Henry VI into three parts was the best in this sketch.)
Possibly the bit that calls for the audience's greatest degree of knowledge and concentration is the resume of a plot that combines all the Shakespearean comedies into a single play (with a very long title). There are plenty of in-jokes and bad puns throughout Act I to demand your fullest attention--and again, few of them work if you do not know the originals.
The first act ends with a little situation in which one of the troupe refuses to do "Hamlet" and flees from the theater. When Act II begins, he has not been brought back and the remaining actor must fill the time with Monty Python-like bad routines. Once back on track, the audience is enlisted to help one of their number (I assume she is not a plant) "feel" the part of Ophelia. The trio's versatility is put to the test at the very end when they repeat the entire Hamlet production quickly, then very quickly, and finally very quickly and backwards!
So all in all, this is a joyous romp for those "in the know" and one that might seem pretty pointless for those who have avoided Shakespeare once school was over. Therefore I must give it 4 stars out of 5 in general, although it deserves 5-plus for those who have stuck with the iambics all these years.
A perfect gift for your English teacher, by the way. Unless you are an English teacher, in which case buy one for yourself.

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5/02/2012

Julius Caesar Review

Julius Caesar
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Much better than the earlier Julius Caesar, which starred Marlon Brando as Mark Antony and James Mason as Brutus. In this version, Jason Robards as Brutus is admittedly an embarrassment, but the rest of the cast is quite strong. The delivery of Antony's funeral oration by Charlton Heston is brilliant, powerful, well-paced, the dramatic high point of the movie. Richard Johnson as Cassius, John Gielgud as Caesar, Robert Vaughn as Casca and Diana Rigg as Portia are fine actors, with full dramatic presence, at home in Shakespeare's language. Brief parts, like the soothsayer's and the cobbler's, are memorably played. The screenplay omits two short passages that are important to the plot: (1) Cassius' avowal in the first act, after his attempt to persuade Brutus to oppose Caesar, that if their positions were reversed and he, Cassius, stood as well with Caesar as Brutus does and Brutus made a comparable appeal to him, he would certainly not listen. (2) Immediately after the assassination, a promise by Brutus to Antony's servant of safe conduct for Antony, who thus knows when he comes to the Capitol and weeps over Caesar's body, challenging the conspirators to kill him also, that he is in no danger of their doing so.

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4/02/2012

King Lear (2004) Review

King Lear (2004)
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Now a celebrity, courtesy of Bilbo Baggins (the keepcase to this King Lear DVD bills him as "of the Lord of the Rings"), Ian Holm was a great actor long before he was Bilbo. On this DVD he delivers a Lear on a par with the twentieth century's greatest, including Olivier's. But the excellence of this version results not just from one bravura performance, but from an intelligently conceived approach to the play, seamlessly executed by a competent, superbly chosen cast. Of innovative productions there is no end, but what a rarity, and what a joy, when innovation comes across as deeply authentic, rooted in the text and the humanity of the play, as if the new take had always been there, concealed in the text, waiting for centuries to be discovered. One can argue whether Lear should be presented as a "psychological" drama of broken family relationships, and I have mixed feelings about the approach; but if, as our leading Shakespeare critic maintains, Shakespeare "invented" our understanding of human nature, then surely this approach should be tried. And it works to perfection here. Goneril and Regan, the "bad daughters," evolve into monsters of pure evil, but along the way we see, via some remarkable facial expressions that play particularly well on the small screen, flashes of the agonizing pain and hurt that their overbearing father has inflicted on them. This is true also of Cordelia, the "good" daughter; all these daughters are visibly tormented in the presence of their father, though Cordelia overcomes her past through love and forgiveness. What keeps this from being the greatest Lear on video is that the text is heavily abridged. Those who know the play will have trouble escaping the occasional feeling that they are trapped in a "60 Second Lear" from Tom Stoppard or the Reduced Shakespeare Company. The greatest of Shakespeare's lines remain, but how much greater they are when they emerge from his larger linguistic context. At points the cutting even confuses the plot. One gets no hint from this version that the "bedlam" Edgar is only feigning madness; for awhile you would think he's actually gone bonkers.

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3/17/2012

Twelfth Night (ATV British television production) (2008) Review

Twelfth Night (ATV British television production) (2008)
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I've been waiting for years for a DVD release of this fine staging of Shakespeare's gender-bending comedy. I first saw this production on A&E cable in the 1980s and enjoyed it tremendously.
Joan Plowright is, by far, my favorite Viola/Cesario. She's convincing in both roles (and, compared to many other Violas, you can believe she might pass as a teenage boy). Plowright is equally impressive in the final act, which requires her to add still more subtleties to her performance.
In the broader comedy roles, it's hard to beat a production that includes Alec Guinness, Ralph Richardson and Tommy Steele. (Steele's manic persona, which is not for all tastes, serves him very well here as Feste.)
The outstanding script adaptation abridges the play to about 100 minutes. The decision to reverse the order of scenes 1 and 2 was ingenious: it makes for a more dramatic opening and allows a type of exposition that television can do well but which could not have been done easily on Shakespeare's stage.
The video itself is slightly grainy (presumably a function of its age), and some minor glitches in the quad tape were not corrected. But these are trifles, and the DVD is very enjoyable.
Be aware that this is a stage-like television production: a play produced on videotape. If you want something more cinematic, Trevor Nunn's 1996 film version is very good.

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The Plays of William Shakespeare, Vol. 9 - The Tempest (1992) Review

The Plays of William Shakespeare, Vol. 9 - The Tempest (1992)
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Firstly I'd just like to point out that on the box it says: "Staged as seen in the 16th century". In fact 'The Tempest' wasn't even written until around 1610/11, the 17th century, and thus it's highly unlikely that it was seen in the 16th.
This is a brilliant play, which has been adapted more successfully to film in the following versions:
- The Tempest, director: Derek Jarman, 1979
- Prospero's Books, director: Peter Greenaway, 1991
I wouldn't reccommend viewing Greenaway's version unless you have know the play quite well as it's a very artistic interpretation, and doesn't lend itself to storytelling, it's more preoccupied with the specifics of Prospero's 'art' (i.e. magic).

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The clearest and most understandable Shakespeare productions ever made. Staged as seen in the 16th Century, featuring award-winning performers. The classic tale of spirits, sorcery, and shipwrecked scheming noblemen. Starring Efrem Zimbalist Jr., William H. Bassett, Ted Sorel and Ron Palillo. 127 minutes.

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3/10/2012

Great Performances: King Lear Review

Great Performances: King Lear
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Ian McKellan totters into a circle of light and raises his palsied hands to command his court into prostrate submission. McKellan's Lear has a despot's easy authority that effortlessly requires obedience. Aged, infirm and bright-eyed, Lear enjoys humiliating those who doubtless wish him dead so that they may inherit. McKellan's Lear is a sly-suave tyrant - reminiscent of Olivier. There are other fine Lears - the brutally hostile Ian Holm (the boss from hell), James Earl Jones' as a cranky African tribal chief, or Orson Welles' nightmare fury. All are excellent. Welles, Olivier, and McKellan are more cinematic whereas Jones and Holm are filmed versions of stage productions. Welles and Holm provide a strong dose of Sturm und Drang melodrama - the volume is turned up so high, it is hard to tell when catharsis hits. Olivier and McKellan are beautifully acted and nuanced. Jones has an amazing voice and his presence overwhelms the cast - except perhaps Raul Julia's wonderful plotting, evil Edmund.
Of the directors, Trevor Nunn is the best and most experienced interpreter of Shakespeare to cinema. He is faithful to the text, (cuts are logical and keep the action moving) but with contemporary Hollywood fit and finish. It helps that Nunn takes care of details that Shakespeare neglects. For example, he shows us exactly how Goneril poisons Regan. When Lear complains that "my poor fool is hang'd," - it refers to an earlier scene where the Fool is actually strung up.
The part of Lear demands a strong actor who can easily dominate a production. Only Olivier and Nunn balance the King with a strong supporting cast. Appearing opposite Olivier are John Hurt as the brilliantly sarcastic Fool, Leo McKern (Rumpole of the Bailey) as a pompously lecherous Glouster, and Diana Rigg as the blindingly beautiful Regan.
Trevor Nunn's outstanding cast boasts Romola Gerai as a sensual Cordelia - upswept hair, wearing a strapless, white satin, wedding gown, and a simple gold chain necklace, that accents her flawless profile, neck, shoulders, and decolletage. Nunn's inspiration for Cordelia is a mystery, but to me she looks like Sargent's sensational painting of Madame X, with the black dress changed to white. She speaks from the heart, clear-eyed, like a child, rejecting Lear's incestuous demand that his daughters love only him - and pays a price for her honesty. Sylvester McCoy's amazing performance as the bitter fool -who alone speaks truth to power without punishment - rivals John Hurt's. Where Hurt practices wicked satire as a sport, McCoy is a disappointed romantic, his cynicism mixed with sadness.
Once again, Trevor Nunn has created an excellent film version of Shakespeare. If only more of his works were available for north american viewers.

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3/08/2012

MacBeth - The Shakespeare Collection Volume 2 (1983) Review

MacBeth - The Shakespeare Collection Volume 2  (1983)
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I teach this play in High School and was looking for an alternative to the Welles and Polanski versions to help my students understand the play. This is not it. This one is horrible. Badly acted and directed and very difficult to follow. If anyone is looking for a video version of this play that is easy to understand and useful for teachers, there is a pretty new version of the play on DVD available on this site directed by J. Bretton Truett and E.J. Kerwin ( B0000639O1 ) that is outstanding for educators. They perform most of the play and include a great deal of video analysis as well. The performances are very good and they use a modern setting which is very effective. There is also a wonderful feature that lets you get right to the text from the video and back again.

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3/07/2012

Rosencrantz & Guildenstern Are Dead (1991) Review

Rosencrantz and Guildenstern Are Dead (1991)
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Query: what are the minor characters in Hamlet doing when they are not actively engaged in carrying the plot forward? Answer: floundering around, not entirely clear as to who they are, and absolutely clueless about what is going on. I remember being electrified by the play's genius when I first read it six million years ago, and only stumbled on the film adaptation by chance while channel surfing in San Diego. The film is a gem.Gary Oldman is a treasure as Rosencrantz, a follower if ever there was one, innocently and accidentally discovering the laws of physics then shrugging them off. Rosencrantz is a trifle slow at times, and he doesn't seem to know- or care- whether he is Rosencrantz or Guildenstern. Mostly, he just wants to go home. Tim Roth is brilliant as Guildenstern, who does know who he is but doesn't know what he can do about it. The interactions and wordplay between these two are dazzling. Richard Dreyfuss is perfect as the slightly sinister Player. Dreyfuss tends to chew scenery which is entirely apt for this character. The production values are wonderful and you get a real feel for the ambience- cold Denmark, even in cold castles, where actors saying their lines can see their own breath. If you love drollery and wordplay and fine acting, this is your kind of movie.

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In this cleverly inspired twist on William Shakespeare's Hamlet, two of the outrageous supporting players take center stage for a dazzling game of illusion and reality that delivers one-of-a-kind entertainment! World Class Cast featuring Richard Dreyfuss (Mr. Holland's Opus, Jaws), Tim Roth (Pulp Fiction, Planet of the Apes) and Gary Oldman (Bram Stoker's Dracula, Harry Potter and the Prisoner of Azkaban)

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2/14/2012

William Shakespeare's Twelfth Night DVD: Performed in American Sign Language and English Review

William Shakespeare's Twelfth Night DVD: Performed in American Sign Language and English
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William Shakespeare's Twelfth Night is a DVD theater production of Shakespeare's classic romantic comedy especially for deaf and hearing-impaired viewers. Featuring an American Sign Language performance with a stellar cast including deaf actors Adrian Blue, Peter Cook, Robert DeMayo, Monique Holt, and Jackie Roth, optional captions, and a lively English voice-over track for accessability to hearing audiences, William Shakespeare's Twelfth Night is a singularly expressive and vivacious presentation. A "must-see" Shakespeare experience for ASL users everywhere. 131 minutes, color.

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2/11/2012

Shakespeare Behind Bars (2006) Review

Shakespeare Behind Bars (2006)
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Although I am not in this documentery, I was a prisoner at Luther Luckett Correctional Complex in LaGrange, Kentucky during filming. It's almost hard for me to praise the film because I have a biased opinion. I know every one of the guys in this film personally and have experienced much of what they have. This film is about searching yourself, searching for the truth of who you really are inside. No other prison program helped me more than Shakespeare Behind Bars because for the first time in my life, I took a look at the real me. As the men in this film allow you to take a look at who they are, I challenge you to face your own personal truth just as I did while I was a member of Shakespeare Behind Bars. In the words of William Shakespeare, "To thine own self be true"!!!

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Shakespeare Behind Bars is a film that follows an all-male Shakespearean theater company composed of convicted felons. For one year, while incarcerated at Kentucky's Luther Luckett prison, the cast rehearse and perform a full production of Shakespeare's great last play, The Tempest.The prisoners cast themselves in roles reflecting their life experiences, including the crimes for which they were convicted. As they struggle to understand the characters they are playing, they uncover startling and moving truths about themselves.The Tempest's underlying theme of forgiveness is at the heart of this incredible documentary. Through their creative journey, these "murderers, fugitives and thieves" reveal kindness, generosity and faith. And we are left wrestling with the notions of transformation and redemption.• Official Selection - Sundance Film Festival 2005 • Official Selection - Edinburgh Int'l Film Festival 2005 • Special Jury Prize - Independent Film Festival of Boston 2005 • Best In Show - Bendfilm Festival 2005 • Crystal Heart Award - Heartland Film Festival 2005Special Features• Prisoner Commentaries • Filmmaker Commentary • Deleted Scenes • Bonus Performance Footage • Troupe Update

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2/02/2012

Shakespeare - The Winter's Tale / Royal Shakespeare Company, Barbican Theatre Review

Shakespeare - The Winter's Tale / Royal Shakespeare Company, Barbican Theatre
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This filmed stage recording is indeed magical. I believe a former critic's particular critique in this regard should be regarded in the light of two distinguishing characteristics of Shakespeare on film: whether the production is a film interpretation or a filmed stage production. This DVD is the latter: over-the-top FX, panoramic view and the like don't necessarily apply. Here one has the magic of being in the audience at a grand performance of the Royal Shakespeare Company, with the added pleasure of being granted close-ups! The acting is all-around sublime, especially Ian Hugh's Autolycus; I've yet to see a rogue interpreted better.
For a contrast of what can be accomplished with Shakespeare as film interpretation versus filmed stage production, compare Orson Welles' Othello with Richard Burton's Hamlet (both available through Amazon); both, I believe, are the ideal of each venue.

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King Lear (1984) Review

King Lear  (1984)
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I have to disagree with the negative reviews posted above. This is possibly Olivier's best recorded performance, and the bulk of the other performances are excellent as well, particularly that of Diana Rigg. The actors speak their lines so casually and easily that, even if you're not used to Shakespearian dialog, it'll soon all seem perfectly natural. The set is minimalist, true, but if your enjoyment of Shakespeare is dependent upon set design then I recommend you never attend a stage performance. If I have one complaint about this production it's that the actors, while individually turning out great performances, don't appear to be relating to each other very well--as if they're each giving their rendition of their characters without letting their performances be informed by the performances of those around them. Still and all, this is an extremely moving production of one of the most powerful plays in the canon.

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1/23/2012

Stage Beauty (2007) Review

Stage Beauty (2007)
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Perhaps thought patterns are changing and prejudices against gay characters are indeed abating. At least hearing the audience delight after viewing STAGE BEAUTY makes a case for more mainstream male actors to shed the fear of taking on roles that feature gender and sexuality variations: Russell Crowe, Colin Farrell, Tom Hanks, Matt Damon, Antonio Banderas, Javier Bardem, Rodrigo Santoro, Gael Garcia Bernal, et al have all performed sensitively as gay men despite their macho image - the once small list is now respectably large. And now add Billy Crudup and Ben Chaplin to that ever-growing list. Bravo to that change.
STAGE BEAUTY (in the screenplay version of his own play 'The Compleat Female Stage Beauty' by Jeffrey Hatcher) is set in the mid 17th century with all the frills and foibles of British dandies and ladies visually intact. This is the time when female roles were assumed by male actors (the theater was simply no place for ladies to participate) and we are introduced to Mr. Kynaston (in a brilliant, multifaceted performance by Billy Crudup!) as he portrays Desdemona in Shakespeare's 'Othello'. He is attended by a dresser Maria Hughes (Claire Danes, another superlative acting achievement) who longs to act and steals away after performances in the theater run by actor Betterton (Tom Wilkinson) to a tavern where she assumes the memorized roles Kynaston performs on the royally approved stage.
Kynaston has been raised to portray women on stage (and indeed in life) and responds to men as a woman (his lover is the Duke of Buckingham - Ben Chaplin). King Charles II (a thorough-going hilarious fling for the gifted Rupert Everett) is convinced by his tart du jour to allow women to play women's roles on the stage, thus dethroning Kynaston as the actress of the time, driving him into tawdry masquerades in pubs after a severe beating from thugs beckoned by the bloated Sir Charles Sedley (Richard Griffiths). Maria Hughes thus becomes the first 'compleat female actress' and this transition between Kynaston and Maria results in desperate tutoring lessons before Maria can play Desdemona for the King. For the first time in his life Kynaston must examine his own sexuality and his successful final curtain after playing Othello to Maria's Desdemona gratefully leaves that choice up in the air.
The script is a delight, the actors are all first rate, especially the wholly immersed Crudup and Danes who could well be part of the Royal Shakespeare Company, so fine is their British sound, demeanor, and Shakespeare! The supporting cast is a kaleidoscope of jewel-like performances from Everett, Wilkinson, Edward Fox, Hugh Bonneville among others. The mood is appropriately British - all dark, candlelit stagecraft and foggy marsh vistas - and the music matches the overall picture. Richard Eyre has directed a film that deserves many kudos, but the main glory should shine on his ability to explore the spectrum of gender and sexuality with dignity, intelligence, and tremendous sensitivity. A welcome delight!


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Since women are forbidden to act in 17th century england mr ned kynaston became the most popular leading lady of his time - until the rules changed and the actress had to finally make a man of himself.Studio: Lions Gate Home Ent.Release Date: 05/22/2007Starring: Claire Danes Rupert EverettRun time: 109 minutesRating: R

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