The Tempest (2010)

Director Julie Taymor’s Tempest is the perfect storm: the cast, the effects, the costumes, the make-up – everything about this production is phenomenal.  The shame of it is that with Taymor busy trying not to kill anybody on Broadway in her exceedingly dangerous musical Spider-Man: Turn Off the Dark, and with virtually no distribution for the film’s December 10^th 2010 release – can you even call four theaters in the whole country a release? – the spectacular Tempest has yet to receive the attention or the reception that it deserves.  Having been severely disappointed to realize on December 9^th, that my geographical region was not to be one of the four graced with a single theater playing The Tempest, I was furious to read blurbs in the press about the financially disappointing performance of the film after the opening weekend.  So allow me to briefly vent to all of those writers before I proceed with the review:

Hello, film industry geniuses.  If a film isn’t released in more theaters than I can count on one hand, THEN IT CAN’T POSSIBLY MAKE ANY MONEY!  That is, unless there are some 100,000 seat theaters somewhere in America that I don’t know about.

Sorry about that, I just love this film, and I was super salty that people were trashing it just because none of the power players involved made its release a big enough deal.

The irony is that the film itself is a testament to the power of great decision making. 

Julius Caesar: The Problem With Top Billing

The Death of Caesar at the Hands of the Senators by Vincenzo Camuccini, 1798

As Shakespeare dramatizes the over two-thousand-year-old assassination of Roman general Julius Caesar, he raises a number of timeless questions about the problematic nature of success.  Late rap music great Christopher Wallace, The Notorious B.I.G., famously hinted at the heart of the problem when he said that “The more money you make, the more problems you get.”  Whether the bar is set by money, power, position, or even virtue, the rise of any individual to some substantial level of greatness always seems to simultaneously give rise to envy, criticism, and even hatred.   Haters will want to see a great man brought down.  Unfortunately for Caesar, back in 44 BC, haters weren’t just going to hate; they were going to stab you thirty-three times in the chest.

The Notorious B.I.G.

The Tempest: Adventures on a Magic Island

Miranda by John W. Waterhouse 1916

It really is as cool as it sounds.  Shakespeare’s The Tempest is like an awesome mash-up of Lost, Harry Potter, and Giligan’s Island.

What we’ve got here are five acts filled with shipwrecks, intrigue, magic, and monsters.  It really is incredibly entertaining.  The play was initially grouped with Shakespeare’s comedies, others later categorized it as a romance, but the only descriptor that really matters here is fun, because that’s exactly what The Tempest is.  It’s got everything.

The drama kicks off right away as a ship filled with important passengers (the King of Naples being one) loses its battle with a fierce storm.  However, this particular tempest is not the work of Mother Nature; it was conjured by a POWERFUL SORCERER!  Dun Dun Duuuuuunnnnnn! 

Titus (1999)

Little did I know, when I literally tried to pitch a film adaptation of Titus Andronicus to Quentin Tarantino several months ago, that critically acclaimed director Julie Taymor made her debut bringing Titus to the big screen back in 1999.  I guess that explains why Tarantino’s agent never got back to me.  Note to self: do more research before contacting Hollywood agents with your next big idea.  In fairness to Julie Taymor, I’ll say that I was dreading my viewing of Titus well before I hit play.  Shakespeare’s text is so gruesome and disturbing that I wasn’t sure I had the stomach to make it through the whole film.  But with Taymor’s Tempest on the way, I knew that I had to acknowledge this bold new voice in Shakespearean cinema.

I had braced myself for horror, but nothing could have prepared me for Titus’s opening scene.  Having expected the action to begin in ancient Rome, I was caught completely off guard when the first thing I saw was a young boy with a paper bag over his head, breaking his toys apart amid a large-scale ketchup explosion at a 1950s-era kitchen table. In fact, I was afraid I had inserted the wrong disc into my DVD player.  Though this fear turned out to be unfounded, the strange scene made for anxiety-filled viewing all the same.  Things did calm down for me moments later as a large man, dressed entirely in black, burst through the kitchen window to seemingly kidnap this child.  Normally, this would be alarming, but once you see the kind of mess the kid was making, you’ll accept the fact that he had to be stopped somehow.

Coriolanus: Pride Plus Betrayal Equals Bad News for Everybody

Coriolanus at the Gates of Rome by Giovanni Battista Tiepolo, 1730

In a Rome more ancient than that of Julius Caesar or Titus Andronicus, Shakespeare’s Coriolanus centers around the marquee-stealing pride of an exceptional Roman soldier, and – no surprise here – the disastrous effects of that greatest of errors.  The arrogant master of arms in question is Coriolanus, but don’t look for that name to pop up until the penultimate scene of Act One; until then, the man who will be known as Coriolanus goes by Martius.  This original name is a great fit, since his prowess on the battlefield inherently associates him with Mars (Roman god of war), and all things martial.

No, not that kind of martian.

Though his reputation precedes him, we don’t get to see our martian friend in action on the battlefield before we see him in the throes of his other powerful passion – hating the common people.  Charming, right?  Being of Roman nobility, Martius disdains the lower class, and is only too happy to give these “dissentious rogues” a piece of his discriminating mind when the need arises.   The commoners have been kicking up an accusation-heavy fuss concerning their oppression at the hands of the ruling class (particularly as it relates to corn for some reason), and have thus been granted tribunes to represent them in the government.  Martius is livid.  He’s really not a “no taxation without representation” kind of guy.   Martius speaks his mind in all things, so his feelings about the common people and their representatives are no secret.  As the play opens, the protesting citizens label him “chief enemy to the people.”

Don't mess with these Romans' corn

As You Like It (2006)

By any standard, Kenneth Branagh’s 2006 production of As You Like It is exceptional.  It is both an incredibly entertaining film and – in my mind - a terrifically faithful adaptation of Shakespeare’s original play.  In the DVD extra “From Page to Screen With Kenneth Branagh,” the director explains that, as a filmmaker adapting Shakespeare, “you’re trying to serve the story in the medium you’re working in” (emphasis added).  The point being that if you just stick to the text, then you don’t have a visually stunning movie; but throw the text out the window in order to make a Star Wars prequel-esque, special effects-heavy, cinematic explosion, then you’ve lost Shakespeare’s genius in the translation.   Brannagh makes neither mistake here.

In As You Like It, Branagh makes the bold decision to change the play’s setting from a French dukedom (of an uncertain time period) to the feudal Japan of the 19^th century.  In fact, as the film opened, I felt like the play was happening in the cover art of Weezer’s classic 1996 album Pinkerton.  

You should own this album.

As a huge fan, I was that much more excited about the movie.  The setting change was a make it or break it move for Branagh’s production, one which proves itself over the course of the film to be a brilliant decision. Shakespeare’s play begins with the hostile takeover by Duke Frederick already completed, but the cool new setting allows Brangh to stage it at the film’s outset as a ferocious samurai invasion.  Pairing that awesome open with seamless translation of Shakespeare’s “wrestling” in Act One to the sumo wrestling in the film, and you not only have a dynamite new setting, but also the brilliant juxtaposition of the dukedom’s violence and the peace we find in the Forest of Arden.

Troilus and Cressida: All’s Not Fair in Love and The Trojan War

Cressida and Pandarus View Passing Warriors by Alexandre Bida 1890

I was excited to find that this play, wholly unknown to me prior to this reading, was set during the Trojan War.  I had enjoyed The Odyssey in high school, and more recently made my way through The Illiad (incidentally, I was surprised by where The Illiad ended: Troy is still standing, Achilles’ heel hasn’t been a problem, and nobody had even mentioned a giant horse). Troilus and Cressida presented me with an interesting combination: a play I knew nothing about, but with a cast of characters that I did know fairly well.

It’s a good thing that I am into the Trojan War, because the marquee-garnering romance between Troilus (son to Priam, king of Troy, and youngest brother of Trojan hero Hector) and Cressida (some Trojan lord’s daughter) totally takes a back seat here to the war itself.  Like The Illiad, Troilus and Cressida spends a lot of time on the Greeks’ struggle to get Achilles to come out of his tent and actually fight, and also on what eventually transpires between Achilles and Hector (when Achilles is finally done throwing his little fit).  Cressida completely disappears during Act 2 while we check in on the problems and resulting arguments of both the Greek and Trojan leaders, which wouldn’t have seemed weird if she hadn’t gotten top billing.

Henry V (1989)

I think it’s important to note that I don’t evaluate a film in the Shawn and Shakespeare Film Review Series solely on its own merit, but also on how effectively, and how faithfully, it presents Shakespeare’s original play.   In the case of Henry V, I realize that I am expecting a lot: I want the film to have everything I love in the play, and to be as faithful as possible to it – allotting, of course, for a reasonable degree of change in the transition from stage to screen; yet I also want all the bells and whistles that a motion picture can deliver.  I would indeed like my cake, and the privilege to eat it too.  In short, I know myself to be placing a pretty tall order.

Having said all that, there is no question in my mind that Kenneth Branagh’s 1989 production of Henry V is a great film (though I do ultimately have some complaints).  The greatest strength of this adaptation is a number of excellent performances.  Branagh himself is dynamic as Henry, and was even nominated for an Academy Award for the role (as well as for Best Director).  Derek Jacobi is awesome as the Chorus, and Branagh weaves Jacobi’s narration between scenes brilliantly. 

HENRY V (at the Sedgwick Theater in Philadelphia on Sunday October 3rd 2010)

Performed by the Quintessence Theatre Group, and directed by Alexander Burns

Click here to read my interview with HENRY V director Alexander Burns.

Click here to find out more and to get yourself tickets to this - spoiler alert - AMAZING show!

I had wondered, as I was looking forward to this performance, how it would be possible for Henry V, which is so powerful on the page with its clash of kingdoms in epic battle, to have the same kind of impact when performed on stage. Of course, Shakespeare himself was aware of how ambitious an undertaking this process was, having the Chorus offer the preemptive apology in the Prologue to Henry V: “Pardon, gentles all, / The flat unraised spirits that have dared / On this unworthy scaffold to bring forth / So great an object.” It was clear to me, from the very first moments of this performance, that the Quintessence Theatre Group and director Alexander Burns had boldly embraced the gutsy spirit of Shakespeare’s original production.

Henry V: England’s Great Underdog (That’s the Humor of It)

The Duke of York Mourns the Death of Suffolk by Alexandre Bida (19th Century)

This play has everything! High stakes action and adventure? Check. The intense drama of war? Check. Great comic elements? Check. Romance? Check. The depth of moral ambiguity and philosophical debate? Check. Suspense, tension, intrigue, betrayal, corruption, funny accents, foreign languages, arrogant braggarts being taken down a peg? Go ahead and call the bank now, because we’re going to need more checks.