Submitted By shanelleb5 Words 1390 Pages 6 The film adaptation of Twelfth Night is a light hearted comedy of love, exuberance, drunkenness, deception and mistaken identity. The captain says that Orsino still is a bachelor, but then goes on to tell. Maria goes to support him. As Feste watches Orsino and Cesario almost kiss he knows that Cesario is a woman but his expressive penetrating eyes articulate to the audience the complexity of this scenario because Orsino thinks Cesario is a man. For example, the film turns a verbal and witty scene between Feste and Viola into a warning about the dangers that Viola faces in her sexual and social instability. Much comedic confusion ensues, as mistaken identity causes characters to fall in and out of love with other characters who are in and out of disguises, all leading to a Shakespearian happy ending where those who should be in love are, and with the correct people.
His literary legacy included 37 plays, 154 sonnets, and five major poems. He gives us a dance more disturbing than the sentimental line dance of the party in the hall. And yet it's also just a part of a pleasurable little scene between two performers intent on topping one another with their jokes and gags. Whether this was seen as a restorative for Antonio or a further slap in the face is hard to tell: what would he say or think of this woman disguised as his beloved? Ben Kingsley was the first Feste I ever saw, and I Feste have still never seen one who rivals him. Swollen with his self-importance, proud that he is impervious to the failings of mortals, he falls hard, and Shakespeare is just barely able to save his heart from breaking. The young woman has her long, beautiful hair cut by the sailor, conceals her breasts, and dresses like a boy.
Viola and other survivors end up on the shore of Illyria. Drunk Fester is singing the same song that was playing in the previous scene, but paired with the setting a much colder atmosphere is given. As a good comedy, it complicates resolution for our further pleasure. Nunn's film, though it is not unaware of theoretical and filmic concerns, interrupts a growing self-consciousness in Shakespeare films, and offers us some rewards for returning to a space where the text can resonate. He seems neither surprised by the world, nor fully accepting of it.
Though quotations on the video marketing may suggest that the film belongs in camp or even queer genres, and though same-sex eroticism is clearly strongly referenced in the near-kiss shots, a different suggestion appears in the art-work used on the poster and the video box. He knows that it has happened a hundred times and may well happen hundreds more. Our Bottom Line: This is a really fantastic version of this play. When you looked at the promotions for a costume-drama location film like Much Ado about Nothing, with big-time movie names like Denzel Washington, Robert Sean Leonard and Keanu Reaves, you would have known to expect a good time and significant amounts of eye-candy. Sir Toby, Olivia's uncle and a notorious drunk, is also trying to encourage his friend, the idiotic to court Olivia, but she purposely ignores him.
She meets Feste playing his concertina, and greets him. Stephen Evans and David Parfitt. Because Twelfth Night was meant to be a Hollywood release, produced by Fine Line Features in 1996, Nunn needed to concern himself with audience. His unflustered observation and resolute interrogation of the dangerous sides of the action at once acknowledge and defuse the sense of tragedy. But when you saw three years later a similar Shakespeare comedy involving classical theatre names like Trevor Nunn, Ben Kingsley and Nigel Hawthorne, your expectations would be less certain and the result more complex. Twelfth Night is a magnificent comedy written by famous writer William Shakespeare. She looks at Feste, who nods slowly; then she leaves to join Toby.
Desire, far from being secret, will find a way to reveal itself and cut through complication. During the opening credits, we witness Viola's makeover under the paternal guidance of the sea captain. Words: 503 - Pages: 3. Viola presumably understands Feste's penetrating gaze and haunting song more accurately. A related collage on the cover of the published screenplay makes the heterosexual teleology even clearer. David Attenborough, 1982 and many other roles.
Given the complicated passages of their love, it's no wonder Toby and Maria have to leave Illyria at the end. To be sure, makes a better boy than made a girl, but nobody's perfect. Bonham Carter, who has grown wonderfully as an actress, walks the thin line between love and comedy as she sighs for the fair youth who has come on behalf of the count. Suddenly, Viola has newfound hope that her brother may be alive. Viola disguised as Cesario quickly becomes a favorite of Orsino, who makes Cesario his page. Here's where the real challenge comes - a surprise, but also a logical extension of the gathering tension. High up, at a distance, he is a strange figure, unrooted, unexplained, and isolated even those who know the play well will not expect to see Feste here.
A History of Shakespeare on Screen: A Century of Film and Television. And you smile not, he's gagged? The statue Malvolio hugs is consistent with a Victorian country house, but the embrace is a zanier, more Elizabethan touch than we would expect in a novel or a traditional heritage film. Taken off in sorrow and vulnerability, the necklace returns to her as a mark of strength. With his strong countenance and critical intelligence, Kingsley has a long history of work that forged thoughtful, often intellectual thematic connections among stage, script, film and world. In the first 3 acts of Twelfth Night Shakespeare skillfully uses three very different characters to illustrate three types of behaviour in relation to emotional pain and suffering. Understandably, he rushes out of the barn into the open air, appalled at how close he is to breaking the codes of sexuality.
New Line Home Video, 1997. Although Viola was found and rescued, her brother, Sebastian, seems to have vanished in the stormCaptain tells Viola that Sebastian may still be alive. When he directs the staff in one direction, Maria and Fabian bolt in another, bursting outside into the sunshine upon the green hedges. As this is a comedy it means that there are multiple marriages in the final scene and happy endings for most, except maybe one person who is seen as a fool throughout the play in this instance, Sir Andrew or Malvolio… 2204 Words 9 Pages England, William Shakespeare is considered by many to have been the greatest writer the English language has ever known. But since Lady Olivia refuses to talk with any strangers, Viola decides that she cannot look for work with her. The revelations move on with inevitable sureness and yet without haste. However, this quote occurs in the very first scene of the play, before the audience even meet Olivia, and is clearly setting the satirical tone for the rest of the play.