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Trevor Nunn’s Twelfth Night sits up on the same pedestal as Branagh’s Worthy Ado About Nothing. Not a suprise, either, given that both films came out of Branagh’s Renaissance Films. Reset in the Victorian era, Nunn maintains the sparkling balance of comedy and drama (grand like Great Ado), carried out in one fantastic cast. Nunn does a fabulous job of keeping most of Shakespeare’s comedy in-tact, editing only when neccessary to appease a film audience (most noticeable in Viola’s renowned “I left no ring with her” monologue being broken up throughout the film) .
No member disappoints and each one excels in their enjoy lawful. Helena Bonham Carter, queen of period films, plays an extraordinary Olivia with suited timing. Imogen Stubbs, whom I’ve only seen play a little role in Sense and Sensibility, exceeds all expectations region for her in the role of Viola. And Ben Kingsley (yes, Ghandi), reminds us of his Royal Shakespeare Company roots as a multi-dimensional Feste.
The accumulate, unhappily available on CD (albeit Kingley’s “The Wind and the Rain” is available on the CD collection “If Music Be the Food of Love: Shakespeare at the Movies”), is breathtaking and well-done, particularly for a play that includes so worthy music as a stage performance. It corrolates perfectly with the lush settings (often animated romantic sea-scapes and Victorian manor houses) and costumes.
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Perhaps the biggest disappointment about this film is that it’s not available on DVD. However, it alone is reason enough for me to retain my VCR.
Trevor Nunn’s adaptation of “Twelfth Night” is a masterpiece of insight and nuance. Instead of simply playing up the sure slapstick of this gender-bending comedy of wrong identity, Nunn highlights the sunless undertones of the spot which yield surprising depth and poignancy. Those familiar with the play will scrutinize some alterations in the fresh text, but those who are unusual to Shakespeare will thank Mr. Nunn for making the chronicle easier to follow and a pleasure to inspect. For example, when Duke Orsino (Toby Stephens) utters the eminent opening line of the play, “If music be the food of appreciate, play on,” ten minutes have already elapsed. But what takes status in those ten minutes sets up the location beautifully and brings the characters to life.
The sage centers around two twins, Viola (Imogen Stubbs in a star-making performance) and Sebastian (Stephen Makintosh), who are shipwrecked and separated at sea, each fearing the other is dumb. Viola washes up on the shore of a hostile country and disguises herself in her brother’s clothes to avoid take and maintain his memory alive. The other two main characters, Olivia (Helena Bonham Carter), and Orsino (Toby Stephens), are similarly apprehensive. Olivia mourns her bear brother’s novel death and Orsino suffers passionate unrequited esteem for Olivia, who refuses to notice him.
Viola’s male alter ego, Cesario, winds up in Orsino’s court, becomes his best friend, and (here’s the rub) romantic emissary to Olivia. What follows is a hilarious and poignant farce in which Olivia falls in appreciate with Orsino’s messenger, Cesario (Viola) who, under her disguise, is desperately in fancy with Orsino. Meanwhile, playful members of Olivia’s household trick her arrogant butler, Malvolio (a vivid Nigel Hawthorne), into believing that Olivia loves him, and another jealous suitor, the hapless Sir Andrew Agucheek (Nigel Grant), challenges Cesario to a duel. Through it all, the wry fool, Feste (Ben Kingsley), penetrates the confusion with a dry wit, a calming presence, and a surprisingly splendid singing whisper(!) . When Sebastian, a “tedious ringer” for Cesario (Viola), finally arrives on the scene, the confusion rises to a fever pitch that only Shakespeare could unravel.
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Trevor Nunn has assembled a shimmering cast led by the astonishingly versatile Imogen Stubbs. As Viola/Cesario, Stubbs gives a richly nuanced performance which ranges from deep pathos to antic comedy. It’s a shame that this gleaming, multi-faceted actress (who previously appeared in “Sense and Sensibility”) doesn’t find top billing for the film. This is not to say that the actress who does, Helena Bonham Carter, isn’t astounding in her gain legal. Ms. Carter displays prodigious amusing talents in “Twelfth Night” and surely has the most expressive eyebrows in cinema. Her reaction to Sebastian’s arrival is itself almost worth the notice of admission. Ben Kingsley infuses the role of Feste with gigantic humanity and warmth, and Toby Stephens is a glowing, kindly Orsino. The cinematography is magnificent and Shaun Davey’s musical come by is a delight. In a play where Shakespeare included so many songs, Davey contributes music that fits perfectly with the Victorian setting of Nunn’s adaptation. The intention in which Nunn uses Feste’s final song to tie up the loose ends of the site is but one of the many microscopic touches that manufacture this “Twelfth Night” a joy to observe again and again.
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