Based on the play by William Shakespeare, Coriolanus is the story of a general who seeks a spot in the world of politics only to put himself in trouble as he seeks the aid of an enemy to seek revenge. Directed and starring Ralph Fiennes in the titular role of Caius Martius aka Coriolanus and screenplay by John Logan, the film is a modern take of Shakespeare’s tragic play as it set in a 21st Century re-imagining idea of Rome where a man’s ambitions get him into trouble prompting him to fight back. Also starring Jessica Chastain, Gerard Butler, Vanessa Redgrave, John Kani, James Nesbitt, Lubna Azabal, and Brian Cox. Coriolanus is a gripping and evocative film from Ralph Fiennes.
A powerful yet polarizing Roman general seeks to be in the world of politics yet a couple of political officials and local Romans successfully banish him from the city forcing the Caius Martius Coriolanus to seek the alliance of his sworn enemy in Tullus Aufidius (Gerard Butler) to seek revenge on Rome. It’s a film that play into the fallacy of ambition and vengeance as it follows a man whose arrogance and disdain for low-class citizens puts him at odds with those in the Roman Senate where a couple of tribunes try to discredit him as they would do things that are just as bad as what he’s done. John Logan’s screenplay opens with Coriolanus’ rise as a general who is cunning in his beliefs as well as maintaining some rule in Rome while is at war with a neighboring nation of Volsci that is led by Aufidius. Coriolanus’ victory against Aufidius would give him stature with Coriolanus’ mother Volumnia (Vanessa Redgrave) encouraging him to go into politics.
Logan’s script doesn’t just retain much of the dialogue written by William Shakespeare but also its approach to character study with characters scheming and such for their own gain such as the characters of the tribunes Brutus (Paul Jesson) and Sicinius (James Nesbitt) vehemently dislike Coriolanus as they even gain the alliance of citizens who hate Coriolanus to join them. The film’s second half play into the aftermath of a TV interview with Coriolanus that fell apart as he’s been exiled from Rome with his family angry over the government with longtime family friend in Senator Menenius (Brian Cox) trying to smooth over the conflicts. Coriolanus goes to Volsci to find Aufidius to allow him to settle their conflict yet Aufidius is moved by his journey allowing Coriolanus to join him as both men have issues with Rome and its government that would create this unlikely alliance.
Fiennes’ direction definitely bears elements of theatricality in some scenes yet some of the film also bear elements of modern-day political films as it is shot on location partially in Britain but also areas such as Serbia and Montenegro where the story is set in the early 21st Century as if the idea of Roman times is in the modern world. The usage of the locations add to this air of chaos that is happening where Rome is presented as this rich and organized world that is shot on Britain while Volsci and other locations shot in Serbia and Montenegro showcase a world that hasn’t prospered like Rome has. Fiennes’ compositions does have elements of style such as the battle scenes where he presents it with hand-held cameras for close-ups and medium shots including the scene of Coriolanus on a TV show where he goes after his critics including the tribunes who are scheming against him. While there are some wide shots to establish some of the locations as well as scenes involving crowds and in some eerie compositions to play into the position of power. Fiennes does maintain this air of theatricality in the direction with the actors and how would place them into a frame or to create this chaos in the riots.
Even the usage of TV news add to the dramatic elements of the film as it play into Coriolanus’ journey where the third act shows him going mad with vengeance with little chance of seeing reason and make peace. Fiennes’ direction showcases a man on the edge as he is intent on destroying Rome but there are those who love and care about him who want him to stop. The tragedy isn’t just about Coriolanus’ downfall and descent into madness but also the compromises he had to make where Fiennes showcases a man who had put himself into a world that he doesn’t know little about but only to make more enemies than he did when he was just a soldier. Overall, Fiennes craft a riveting and chilling film about a Roman general’s downfall and his revenge against those who ousted him from Rome.
Cinematographer Barry Ackroyd does brilliant work with the film’s grainy digital cinematography as its usage of close-ups add to the grimy detail of the visuals as well as maintaining a drab yet naturalistic look for the scenes set at Volsci. Editor Nicolas Gaster does excellent work with the editing with its usage of jump-cuts and montages while maintaining some unique rhythm to capture the energy of some of the monologues. Production designer Ricky Eyres, with set decorator Lee Gordon and art director Radoslav Mihajlovic, does amazing work with the look of the Roman government buildings and the home that Coriolanus and his family lives in as well as the drab home base of Aufidius. Costume designer Bojana Nikitovic does fantastic work with the look of the Roman military uniforms as well as the posh clothing of the Coriolanus family that is a sharp contrast to the more rugged look of the Volsci and its people.
Hair/makeup designer Laura Schiavo does terrific work with the look of the scars on Coriolanus’ face and body as well as the tattoos he would later gain. Special effects supervisor Jason Troughton and visual effects supervisor Angela Stanley do some nice work with the look of some of the TV footage along with a few set-dressing for scenes to play into the atmosphere of war. Sound editor Oliver Tarney does superb work with the sound as it play into the raucous atmosphere of the protests, riots, and sounds of war along with the disconcerting tone in some of the dialogue in certain rooms or sets. The film’s music by Ilan Eshkeri is wonderful for its low-key orchestral/ambient score that play into the dramatic suspense as well as some of the film’s war scenes while music supervisor Ian Neil provides a music soundtrack that features a traditional music piece performed by Goran Bregovic as well as a couple of contemporary pieces by Lisa Zane and Sheer K.
The casting by Jina Jay is incredible as it feature some notable small roles from Jon Snow as a TV anchorman, Harry Fenn as Coriolanus’ young son Martius, Dragan Micanovic as Coriolanus’ subordinate Titus, Slavko Stimac as a Volsci lieutenant who doesn’t trust Coriolanus, the duo of Lubna Azabal and Ashraf Barhom in their respective roles as leading protestors against Coriolanus in Tamora and Cassius, and John Kani in a terrific performance as Rome’s leader General Cominius who is trying to ensure peace and reason despite so much opposition and controversy. Paul Jesson and James Nesbitt are superb in their respective roles as tribunes Brutus and Sicinius as two political figures who hate Coriolanus as they scheme to discredit him only to put Rome in danger during its second half. Jessica Chastain is fantastic as Coriolanus’ wife Virgilia as a woman trying to be supportive but also raises concern for her husband’s well-being as she also copes with his exile.
Brian Cox is excellent as Menenius as a Roman senator who is close with Coriolanus’ family as he is eager to help Coriolanus anyway he can while having to deal with the opposition as he struggles to maintain order and later to try and reason with Coriolanus in his vengeance towards Rome. Vanessa Redgrave is brilliant as Volumnia as Coriolanus’ mother who is an influential figure in Rome as she encourages her son to go into politics while being very angry at the tribunes who successfully banished him prompting her to get her son back and see reason. Gerard Butler is amazing as Volsci military leader Tullus Aufidius as Coriolanus’ sworn enemy who is hoping to destroy Rome and Coriolanus where he is later moved by Coriolanus’ determination following his exile as he helps him seek revenge on Rome. Finally, there’s Ralph Fiennes in a phenomenal performance as the titular character as a general who is a polarizing figure for his disdain towards common folk while is eager to rise to power only to be kicked out of Rome prompting him to seek vengeance as there’s an intensity to his performance but also an eeriness of a man driven to the edge.
Coriolanus is a marvelous film from Ralph Fiennes that features a great ensemble cast, a modern take on William Shakespeare’s character study, gritty visuals, and themes of ambition and vengeance. It’s a film that explore a man’s descent into madness in his attempt to go into politics only to be banished by the people in his home country as he also endures humility and shame that prompts him to seek revenge but at the cost of his own spirit and soul. In the end, Coriolanus is a remarkable film from Ralph Fiennes.
Ralph Fiennes Film: The Invisible Woman (2013 film) - (The White Crow)
© thevoid99 2019
Based on the play by William Shakespeare, Much Ado About Nothing is the story of a two people who tricked themselves into thinking they’re in love with each other while trying to get two other people to fall in love with each other. Written for the screen, scored, co-edited, and directed by Joss Whedon, the film is set in a modern-day setting at Whedon’s home in Santa Monica with some changes to the text to play into the basic elements of Shakespeare’s story. Starring Amy Acker, Alexis Denisof, Reed Diamond, Nathan Fillion, Clark Gregg, Fran Kranz, Sean Maher, and Jillian Morgese. Much Ado About Nothing is a whimsical and intoxicating film from Joss Whedon.
Set during a wedding ceremony that is to commence, the film revolves around two people who despise each other as they try to help two people get married as they also cope with their feelings for each other. During the course of the film, there’s a guest who wants to create ruin for the proceedings with a couple of his co-conspirators as it would later become chaotic. Joss Whedon’s screenplay definitely keeps a lot of the dialogue that William Shakespeare had written as well as the setting in the fictional town of Messina. Yet, Whedon would make some changes to the story as it is set in a modern world while expanding a few minor characters who play crucial roles to the story. There are also elements in the film that are comical as it relates to the character of Dogberry (Nathan Fillion) and his attempts to find the truth as he has to deal with the associates of the Don John (Sean Maher). Still, much of Whedon’s approach to the material remains faithful as well as infusing modern-day humor to play into the romance and comedy.
Whedon’s direction is definitely stylish not just for its black-and-white cinematography but also for its intimate setting as it is shot on location at the home of Whedon and his wife/producer Kai Cole as the house was built by the latter. While there are some wide shots of a few bits of the locations including the area around Whedon’s home, much of Whedon’s compositions are shot in and out of the house including the backyard with its swimming pool, garden court, and a view of the landscape around the house. Notably in the way Whedon would use the space to play into the way characters interact whether it’s in a close-up or in a medium shot that include scenes where Benedick (Alexis Denisof) and Beatrice (Amy Acker) both would listen to other characters talk about the other person to play into this sense of attraction. The response from both Benedick and Beatrice is filled with a sense of slapstick comedy in the way they would try and hear what their friends are saying.
With Whedon also serving as a co-editor with Daniel Kaminsky and composing the music score as it’s a mixture of jazz, folk, and low-key orchestral music to play into the comedy. Much of the editing is straightforward with some jump-cuts and fade-to-white transitions to play into the humor and some of the drama. Even during the film’s second act as it relates to the wedding proceeding as it play into the love-hate relationship between Benedick and Beatrice where they become aware of what is happening. The comedy still looms as it relates to Dogberry and the way he’s been treated by the people he arrested. Whedon would also maintain that sense of imagery into the events of the third act as it relates to deceit and power control with Benedick and Beatrice trying to set things right. Overall, Whedon creates a lively and witty film about two people whose disdain towards one another leads to them falling in love and in helping a young couple get married.
Cinematographer Jay Hunter does brilliant work with the film’s black-and-white cinematography as it has this natural yet gorgeous look to the film for its scenes in the day and night including scenes in the latter that includes a dinner party. Production designers Cindy Chao and Michele Yu do fantastic work with the look of some of the exteriors for the wedding as well as a few set decoration for the police base and some of the rooms at the house. Costume designer Shawna Trpcic does excellent work with the costumes from the casual look of the characters to some of the costumes and masks worn at the dinner party. Sound editor Victor Ray Ennis does superb work with the sound as it play into the atmosphere of the locations as well as music is presented in the film. Music supervisor Clint Bennett provides a wonderful soundtrack that feature a couple of songs written by William Shakespeare that are performed by Jed Whedon and Maurissa Tancharoen.
The film’s incredible cast feature appearances from Nick Kocher and Brian McElhaney as watchmen, Romy Rosemont as the sexton who watches over Dogberry’s interrogation of Don John’s attendants, Paul M. Meston as Friar Francis, Tom Lenk as Dogberry’s partner Verges, Emma Bates as a maid/attendant to Hero, and Ashley Johnson as another young maid/attendant to Hero in Margaret who unknowingly becomes a victim of Don John’s scheme. Spencer Treat Clark and Riki Lindhome are superb in their respective roles as Don John’s attendants in Borachio and Conrade as two people who help Don John in his scheme with the latter being Don John’s lover. Nathan Fillion is fantastic as Dogberry as a police investigator who is watching over the proceedings as he is trying to figure out what is happening when the wedding plans is being ruined as it’s Fillion being very funny and offbeat. Reed Diamond is excellent as Don Pedro as the Prince of Aragon who is the best man that is trying to deal with the chaos of the wedding while not knowing who is creating all of this trouble.
Jillian Morgese and Fran Kranz are brilliant in their respective roles as Hero and Claudio as two young lovers who are about to be married only to be unaware of the forces that is trying to break them up. Sean Maher is amazing as Don John as the bastard prince brother of Don Pedro who despises the young lovers as he wants to ruin them in his own pursuit of power. Clark Gregg is marvelous as Hero’s father Leonato who is Messina’s governor that is dealing with the chaos of what happens as he wants justice for the people that ruined his daughter’s wedding. Finally, there’s the duo of Alexis Denisof and Amy Acker in phenomenal performances in their respective roles as Benedick and Beatrice with the former being a charmer that isn’t willing to be with Beatrice yet as feelings for him while the latter is an energetic figure who despises Benedick but is protective of her cousin Hero where she turns to Benedick for help in setting things right.
Much Ado About Nothing is a sensational film from Joss Whedon. Featuring a great ensemble cast, dazzling visuals, a simple yet effective setting, and some witty interpretation of William Shakespeare’s words. The film is definitely a lively and inspired take on Shakespeare’s comedy as well as setting it in a modern world that proves that Shakespeare can fit in towards any environment. In the end, Much Ado About Nothing is a spectacular film from Joss Whedon.
Joss Whedon Films: Serenity - The Avengers (2012 film) - The Avengers: Age of Ultron - Justice League
© thevoid99 2018
Based on five different plays by William Shakespeare and Holinshed’s Chronicles by Ralph Holinshed, Chimes at Midnight is the story of a knight and his relationship with a prince who is forced to make a decision on whom he should be loyal to. Written for the screen, starred, costume designed, and directed by Orson Welles, the film is an unconventional take on the work of Shakespeare with Welles playing the role of Sir John Falstaff as it explores friendship and loyalty. Also starring Keith Baxter, Margaret Rutherford, John Gielgud, Jeanne Moreau, Norman Rodway, Marina Vlady, Fernando Rey, and narration by Ralph Richardson. Chimes at Midnight is a rapturous and evocative film from Orson Welles.
The film is set during the final days of Henry IV of England (John Gielgud) as it revolves around his son who spends much of his time with the knight Sir John Falstaff into a world of mischief as he is primed to be next in line for the throne despite opposition from relatives who want to have Edmund Mortimer released as he is the true heir to the throne. It’s a film that explores not just destiny but also a young man torn between two figures who are guiding him into manhood. Orson Welles’ screenplay is filled with a lot of the monologues and character study that William Shakespeare is known for in the plays that Welles would compile into the script. All of which play into the idea of identity and all of the glories an identity could bring where Falstaff is at the center of everything as he wants to be an influence to Prince Hal (Keith Baxter) knowing he is next in line. Yet, Hal does want to get the approval of his father where he would try to win it during a battle against a rebellion where he would go up against a prominent knight. Unfortunately, he would also see what Falstaff wants as it adds to this internal conflict that Hal would endure.
Welles’ direction is definitely stylish for the air of theatricality that he would maintain throughout the film as it would play into this world of 15th Century decadence with an air of 20th Century energy. Shot on location in Spain, Welles would use the desert landscape to play into the scope of the world that the characters are in. Notably with the castles and the tavern where much of the action occurs in the latter as it is a place where Falstaff and his band of brothers can enjoy themselves. While Welles would use some wide shots of the tavern to showcase the liveliness whether it’s in a big group dance or in a conversation scene involving Falstaff and Hal as there’s characters in the background such as a young page (Beatrice Welles), the tavern hostess Mistress Quickly (Margaret Rutherford), and the prostitute Doll Tearsheet (Jeanne Moreau). He would also create some close-ups and medium shots to capture some of the emotional aspects in the film including shots in the battle scenes.
The battle scenes is a highlight as it has a lot of action but also some offbeat humor as it relates to the armor that Falstaff is wearing which is designed by Welles who would also be the film’s costume designer. While there is a lot of stylistic elements that Welles would include in the film, he does maintain the theatricality needed in scenes where there are these long monologues such as the one Henry IV gives in the aftermath of the battles as it play into his own mortality as well as what the future holds. The third act is where Welles shines as a filmmaker where he would use some low camera angles to play into Hal’s acceptance into the role he is in but also what he had to sacrifice as it relates to Falstaff and his influence. Notably as what Falstaff would have to see when Hal becomes king as it would mark the end of something that he is forced to accept as well. Overall, Welles creates an intoxicating yet compelling film about a young man trying to cope with his destiny and the influence of a decadent knight.
Cinematographer Edmond Richard does brilliant work with the film’s black-and-white photography to play into the look of some of the interiors inside the castles as well as the scenes at the tavern and the exterior shots set at night. Editors Fritz Mueller, Elena Jaumandreu, and Peter Parasheles do excellent work with the editing as it is stylized with some jump-cuts in its approach to the action and conversations involving different characters. Production designer Mariano Erdozia and set decorator Jose Antonio de la Guerra do amazing work with the look of the tavern as well as some of the interior of the different castles including Henry IV’s palace. The sound work of Luis Castro is terrific for the way the sound is captured in the tavern and at the castles along with the chaos during the battle scene. The film’s music by Angelo Francesco Lavagnino is superb for its orchestral bombast and flourishes along with some somber string pieces to play into the drama.
The film’s incredible cast feature some notable small roles and appearances from Tony Beckley and Patrick Bedford in their respective roles as Falstaff’s friends Ned Poins and Bardolf, Walter Chiari as Justice Silence, Michael Aldrige as another friend of Falstaff in Pistol, Jose Nieto as the Earl of Northnumberland who rebels against Henry IV, Alan Webb as another country justice official in Justice Shallow who is a friend of Falstaff, Fernando Rey as the Earl of Worcester that is Northnumberland’s brother that is trying to get his cousin Edmund Mortimer in line for the throne, Beatrice Welles as Falstaff’s page who helps him with a few duties, Marina Vlady as Hotspur’s wife Kate Percy, and Norman Rodway as Northnumberland’s son Hotspur who is trying to aid in the rebellion where he would face off against Hal. Margaret Rutherford is fantastic as Mistress Quickly as the tavern hostess who is trying to maintain order in her tavern which is a place of escape for Falstaff and his friends.
Jeanne Moreau is excellent as Doll Tearsheet as a prostitute who lives in the tavern that is a lover of Falstaff as she deals with the chaos around him as well as spout insults at others while displaying elements of sentimentality over what will happen to Hal. John Gielgud is incredible as King Henry IV as a man that is trying to deal with the rebellion as well as Falstaff’s influence on his son where he would deal with his own mortality in a monologue that is just engaging to watch. Keith Baxter is brilliant as Prince Hal as a young man torn between his duties as prince but also the influence of Falstaff whom he sees as a father figure where he wonders if he’s being used. Finally, there’s Orson Welles in a phenomenal performance as Sir John Falstaff as a knight that is literally larger than life as a man that is the embodiment of decadence where he hopes to become a nobleman unaware that times are changing with him having no role in this new world.
Chimes at Midnight is a sensational film from Orson Welles. Featuring a great cast, gorgeous visuals, a sumptuous music score, and a script that meshes many of William Shakespeare’s play into a study of loyalty, identity, and ambition. It’s a film that display many of Welles’ hallmarks of grand visuals to play into a man who tries to influence a younger man into a world of decadence instead of duty. In the end, Chimes at Midnight is a tremendous film from Orson Welles.
Orson Welles Films: Citizen Kane - The Magnificent Ambersons - The Strangers (1946 film) - The Lady from Shanghai - Macbeth (1948 film) - Othello (1952 film) - Mr. Arkadin – Touch of Evil - The Trial (1962 film) - The Immortal Story – F for Fake - Filming Othello – The Other Side of the Wind
Related: Orson Welles: The One-Man Band - The Eyes of Orson Welles - They’ll Love Me When I’m Dead - The Auteurs #69: Orson Welles: Part 1 - Part 2
© thevoid99 2017
Based on the play by William Shakespeare, Macbeth is the story of a Highland lord who becomes the king of Scotland through deceit, plotting, and other things where he succumbs to his own paranoia and guilt. Directed by Roman Polanski and screenplay by Polanski and Kenneth Tynan, the film is an interpretation of the Shakespearean tragedy that explores a man’s decent for ambition in a stylized yet atmospheric take on the play with Jon Finch as the titular role. Also starring Francesca Annis, Martin Shaw, Terence Bayler, John Stride, Nicholas Selby, Stephan Chase, Paul Shelley, Maisie MacFarquhar, Elsie Taylor, Noelle Rimmington, Keith Chegwin, and Diane Fletcher. Macbeth is a riveting yet eerie film from Roman Polanski.
Set in medieval Scotland, the film revolves around a young lord who encounters three witches as he believes in a prophecy that would allow him to become King of Scotland where he and his wife would conspire to kill the king only to be driven by guilt and paranoia. It’s a story that has been told many times yet what Roman Polanski and co-screenwriter Kenneth Tynan do is create something that plays into a man believing into something that isn’t real and may not be about him. Yet, Macbeth (Jon Finch) and his wife (Francesca Annis) take these words very seriously as they believe that killing King Duncan (Nicholas Selby) would bring them good fortune. Instead, questions arise about Duncan’s death as those such as Macduff (Terence Bayler) and Prince Malcolm (Stephan Chase) suspect something isn’t right.
Even as one of the play’s more minor characters in Ross (John Stride) would be given more to do as a man who aids those who are in power for his own gain where he would align with whoever can be powerful. All of which plays into not just the concept about ambition but also its fallacies where guilt would come into play for both Macbeth and his wife through events and visions that would trouble them. For Macbeth, paranoia would ensue where he would kill those close to him and drive those around him mad. Notably in the climatic battle in the third act where Macbeth tries to make sense of all that is happening to him as he faces those he had hurt and such on his ascent to the throne.
Polanski’s direction is definitely intoxicating in terms of the images he creates as well as maintaining an atmosphere into the locations he uses which are set in Wales and England. Polanski’s approach to wide and medium shots not only capture the beauty of those locations with its hills, woods, and all sorts of scenery in these places but also in how it creates this world that quite vast but also unsettling. Notably in scenes where rain is an important part to the landscape which adds an atmosphere that is morose as well as have this stench of death which sets the tone for what Macbeth will deal with. Especially with some of the violence that happens in the film as it is quite gruesome as it play into Macbeth’s own thirst for power and his mistrust towards nearly everyone around him.
The direction also has this air of theatricality in some of the intimate moments that occur yet it is done with a sense of grit in the way the actors are presented into the frame. Most notably a scene where Lady Macbeth is walking in her room naked as she is coping with her own guilt and the trauma in her actions as if she is hallucinating about what is in her body. The film’s climatic battle doesn’t just display these eerie moments of violence but also a sense of terror that plays into the guilt that looms over Macbeth as if all of the misdeeds he had committed into his ascent to the throne is coming back to haunt him as it’s told through such potent imagery through what Polanski unveils in the film. Overall, Polanski creates a spectacular yet haunting film about a man’s desire for power and the fallacy of ambition.
Cinematographer Gil Taylor does brilliant work with the film‘s very colorful cinematography with its emphasis on naturalistic colors for some of the skyline scenes along with unique lighting and fog for the scenes set in the rain as well as some low-key lights for some of the interiors set at night. Editor Alistair McIntyre does amazing work with the editing as it is quite stylish with its usage of jump-cuts but also in creating rhythmic cuts to play up the suspense and drama. Production designer Wilfred Shingleton, with set decorator Bryan Graves and art director Fred Carter, does fantastic work with the look of the castles from the home of Macbeth as well as the look of the home of the three witches and the other castles that the other characters live in.
Costume designer Anthony Mendleson does nice work with the look of the clothes from the robes of the women to the armor and clothes that the men wear. The special effects work of Ted Samuels is terrific for some of the hallucinations that Macbeth would see as it plays into the paranoia that looms over him. Sound mixer Simon Kaye does superb work with the sound in creating some sound effects in some of the battles and fights as well as in some of the sound effects that play into the eerie tone of the film. The film’s music by the Third Ear Band is incredible as it’s one of the film’s highlights for its mixture of traditional folk music of the times mixed in with haunting music pieces that play into the sense of dread that looms in the film.
The film’s remarkable cast features some notable small roles from Keith Chegwin as Banquo’s son Fleance, Mark Dightam as Macduff’s son, Richard Pearson as a doctor who expresses concern for Lady Macbeth’s well-being, Diane Fletcher as Lady Macduff, and as the three witches, Maisie MacFarquhar, Elsie Taylor, and Noelle Rimmington. Paul Shelley and Stephan Chase are terrific in their respective roles as Donalbain and Malcolm as King Duncan’s sons who both flee to England as they both suspect that something wasn’t right in the death of their father. Nicholas Selby is excellent as King Duncan as this man who gives Macbeth so much as he just wants to rule Scotland in peace while deciding to give Malcolm the chance to be the next in line for the throne. John Stride is fantastic as Ross as a knight who aids Macbeth in killing those while aligning himself with whoever has a shift in power so he can be safe and be conniving as it’s a very complex performance.
Terence Bayler is brilliant as Macduff as a general who suspects that Macbeth might be involved with King Duncan’s death as he later copes with events and such that forces him to confront Macbeth in the film’s climax. Martin Shaw is amazing as Banquo as Macbeth’s best friend who too saw the prophecy as he starts to become alienated by Macbeth’s sudden change in behavior. Francesca Annis is phenomenal as Lady Macbeth as this woman who would goad her husband and scheme with him as she would succumb to madness as Annis brings a more low-key approach to the character. Finally, there’s Jon Finch in a riveting performance as the titular character as a lord who would scheme and kill his way to become king only to be driven by guilt and paranoia as it’s a performance that is larger than life and full of intensity as it is one of Finch’s best works.
Macbeth is a sensational film from Roman Polanski that features great performances from Jon Finch, Francesca Annis, Terence Bayler, Martin Shaw, and John Stride. It’s a film that takes the Shakespearean tragedy and put into a darker setting that plays true to what Shakespeare might’ve conveyed as well as has a sense of danger that is typical of what Polanski does. In the end, Macbeth is a tremendous film from Roman Polanski.
Related: Macbeth (1948 film) - Throne of Blood - (Macbeth (2015 film)) - (The Tragedy of Macbeth (2021 film))
Roman Polanski Films: Knife in the Water - Repulsion - Cul-de-Sac - The Fearless Vampire Killers - Rosemary's Baby - (What?) - Chinatown - The Tenant - Tess - (Pirates) - Frantic - Bitter Moon - Death and the Maiden - The Ninth Gate - The Pianist - Oliver Twist - The Ghost Writer - Carnage - (Venus in Fur) - (Based on a True Story) - (An Officer and a Spy) - (The Palace)
© thevoid99 2015
Based on the play by William Shakespeare, Macbeth is the story of a general who learns of a prophecy that he will become king of Scotland as he’s pushed by his wife to kill where he is consumed by guilt and paranoia. Written for the screen, directed, and starring Orson Welles in the titular role, the film is a straightforward yet intricate take on the Shakespeare tragedy that explores the fallacy of ambition and greed. Also starring Jeanette Nolan, Dan O’Herlihy, Roddy McDowall, Edgar Barrier, and Alan Napier. Macbeth is a chilling yet visually-entrancing film from Orson Welles.
Following a victory in battle, the film revolves a general who encounters three witches who tells him of a prophecy that would make him the king of Scotland where he and his wife conspire to kill the king and claim the throne. It’s a film that explores a man who would do the deed to kill the king where he not only becomes consumed with guilt but also paranoia where he is unable to trust anyone including those who are his friends. The paranoia would eventually cause alienation as allies such as Macduff (Dan O’Herlihy) and the king’s son Malcolm (Roddy McDowall) who would team up to plan an assault on Macbeth. The film’s screenplay doesn’t just play into the guilt that Macbeth would face but also the fallacy of his actions where he copes with the decisions he makes as well as trying to kill his own best friend Banquo (Edgar Barrier). Even as Lady Macbeth (Jeanette Nolan) would goad him only to fall apart as well where Macbeth deals with the consequences of his actions.
Orson Welles’ direction is definitely entrancing on a visual scales with not just the sets that are built but also the mood he creates with its Expressionistic lighting. While it was shot largely on soundstages due to budget constraints, Welles was able to create something that is very eerie from the way the castles are made as well as some of the exterior settings. While there are a few wide shots and some intricate close-ups, it’s in the medium shots where Welles would put more than one actor in a frame that is entrancing as well as creating scenes shot in long takes. The long takes would play into the drama that occurs as well as the sense of paranoia and guilt that occurs including moments of tragedy where Welles would let the actors recite Shakespeare’s dialogue to convey the drama that is unfolding. Especially in the film’s climax as it is one of the most chilling moments in the film which showcases the fallacy of ambition. Overall, Welles creates a gripping yet evocative film about a general’s scheme to become king.
Cinematographer John L. Russell does brilliant work with the film‘s black-and-white photography with its intricate usage of lighting schemes and moods to play up the sense of dread and paranoia that looms throughout the film. Editor Louis Lindsay does amazing work with the editing with its straightforward approach to cutting with some rhythmic cuts for some of the dramatic reactions that play out in the film. Art director/costume designer Fred Ritter, with set decorators John McCarthy Jr. and James Redd, does fantastic work with the look of the castle and some of the exterior sets to make it look like it was set in that medieval period as well as the costumes that were co-designed by Welles to play into that period.
The sound work of Garry A. Harris and John Stransky Jr. is terrific as it is mostly post-production sound that create some sound effects as well as correctly dubbing the actors who were lip-syncing to what they were saying. The film’s music by Jacques Ibert is superb for its mixture of orchestral bombast with eerie string pieces to play into the drama and suspense.
The film’s incredible cast include some notable small roles from Christopher Welles as Macduff’s son, Brainerd Duffield in a dual role as a murderer and a witch, Lurene Tuttle in a dual role as a witch and a gentlewoman, George Chirello as one of Macbeth’s servants in Seyton, Jerry Farber as Banquo’s son Fleance, and Peggy Webber in a dual role as Lady Macduff and a witch. Erskine Sanford is superb as King Duncan as the ruler of Scotland who would become the victim of Macbeth’s plot. Edgar Barrier is excellent as Macbeth’s friend Banquo who too saw the prophecy from the witches as he becomes concerned for Macbeth’s state of mind where he learns that something isn’t right. Alan Napier is terrific as the Holy Father who is the throne’s spiritual advisor who notices that things aren’t going well where he eventually turns to Macduff.
Dan O’Herlihy is fantastic as Macduff as an ally of Macbeth who realizes that something isn’t right as he is seen as a traitor while being the one person that can restore order. Roddy McDowall is wonderful as Malcolm as the king’s son who suspects that something isn’t right as he joins Macduff in plotting against Macbeth. Jeanette Nolan is brilliant as Lady Macbeth as the architect of the scheme as she is a woman of ambition as she goads her husband into killing King Duncan where she later copes with her husband’s paranoia and guilt where she would eventually succumb to her own actions. Finally, there’s Orson Welles in an amazing performance as the titular character where he embodies the larger-than-life persona of the character as he display all of the conflicts and anguish into his performance as it’s one of Welles’ best performances.
Macbeth is a sensational film from Orson Welles that features brilliant performances from Welles, Jeanette Nolan, Roddy McDowall, and Dan O’Herlihy. It’s a film that isn’t just a unique take on the William Shakespeare tragedy but it is a film that is told with such style that manages to do a lot to the play itself. In the end, Macbeth is a remarkable film from Orson Welles.
Related: Throne of Blood - Macbeth (1971 film) - (Macbeth (2015 film))- The Eyes of Orson Welles - Orson Welles: The One-Man Band - They’ll Love Me When I’m Dead - The Auteurs #69: Orson Welles: Part 1 - Part 2
Orson Welles Films: Citizen Kane - The Magnificent Ambersons - The Stranger (1946 film) - The Lady from Shanghai - Othello (1952 film) - Mr. Arkadin - Touch of Evil - The Trial - Chimes at Midnight - The Immortal Story - F for Fake - Filming Othello – The Other Side of the Wind
© thevoid99 2015
(Co-Winner of the Palme d’Or w/ Two Cents Worth of Hope at the 1952 Cannes Film Festival)
Based on the play by William Shakespeare, Othello is the story of a Moorish general whose life unravels by the deceit of a jealous captain who is eager to destroy him. Directed and starring Orson Welles with a script by Welles and Jean Sacha, the film is an interpretation of the tragedy that plays into a man whose life of success and praise is destroyed by a man whose jealousy would undo many things. Also starring Micheal MacLiammoir, Suzanne Cloutier, and Robert Coote. Othello is a riveting and entrancing film from Orson Welles.
Set in Venice, the film revolves around a Moorish general who would succeed in the eyes of leaders as he would marry a senator’s daughter only to spur the jealousy and anger of an ensign who believes he had been passed over as he decides to destroy the life of Othello. It’s a film that isn’t just about deceit and hatred but also paranoia as the character of Othello would unravel by these lies created by the man who is jealous of him in Iago (Micheal MacLiammoir). The film’s screenplay by Orson Welles, with additional work from Jean Sacha, wouldn’t just explore Iago’s motivations but also in helping his friend Roderigo (Robert Coote) who is angry that Othello has managed to wed Desdemona (Suzanne Cloutier) whom Roderigo had feelings for. By making Othello believe that Desdemona is having an affair with his lieutenant and close friend Cassio (Michael Laurence), Iago would set all of his plans in motion in ruining Othello’s life.
Orson Welles’ direction is quite stylish not just in its look and approach to compositions with the usage of slanted angles. It’s also in how he would present the drama as it was set in a large stage where he would use many locations such as Venice, Morocco, Rome, and Tuscany since it was filmed sporadically for three years. The film opens and ends with a funeral procession that is shot with a large degree of style as it relates to the tragedy of what would happen to Othello as it sets the everything in motion. Shooting on these different locations, Welles is able to make something that does feel quite grand on a visual scale while maintaining something that is intimate with his close-ups and medium shots. The way he would direct his actors in a setting would add to the theatricality of the film where he knows where to put them in the frame or how they would act out in a situation.
While there are elements in the film that are quite chaotic since it does relate to the sporadic shooting schedule due to financial reasons. It does have some charm into what Welles was trying to do as it has a sense of energy to the story. Even as there are flaws in the film such as the post-production sync where some of the dialogue that is spoken doesn’t match entirely with what the actors are saying. It plays into not just the film’s odd eccentric tone but also into the drama as it would intensify into its third act as it involves the full extent of Iago’s deceit that would eventually lead to Othello’s own downfall. Overall, Welles creates a very intoxicating and engrossing film about a man betrayed and deceived by a jealous man.
Cinematographers G.R. Aldo, Anchise Brizzi, George Fanto, Alberto Fusi, and Oberdan Troiani do amazing work with the film‘s black-and-white cinematography with its approach to lighting in the interiors and be able to match many of the different locations to make the film feel like it‘s in one place for the most part. Editors Jeno Csepreghy, Renzo Lucidi, William Morton, and Jean Sacha do superb work with the editing to bring in some stylish cuts from the usage of still images and other odd rhythmic cuts to play into the drama and the messiness of the production. Production designers Luigi Scaccianoce and Alexandre Trauner do fantastic work with the set design of the home of Othello and some of the characters to play into the intense period of the time as well as the castle where Othello runs his army.
Costume designer Maria De Matteis does nice work with the period clothes from the dress that Desdemona wears to the clothes of the men with their tights. The film’s music by Angelo Francesco Lavagnino and Alberto Barberis is brilliant for its mixture of string-based folk instrument to play into some of the drama to the orchestral elements in the film that helps intensify the drama that occurs in the film.
The film’s phenomenal cast include some notable small roles from Doris Dowling as Cassio’s mistress Bianca, Hilton Edwards as Desdemona’s father Brabanito, Nicholas Bruce as Desdemona’s cousin Lodovico, and Fay Compton in a terrific performance as Iago’s lover and Desdemona’s caretaker Emilia who would have a scene-stealing moment in the film’s third act. Michael Laurence is superb as Cassio who is a loyal friend of Othello that becomes a victim of Iago’s deceit. Robert Coote is excellent as Roderigo who joins Iago in the plot against Othello in the hopes that he could claim Desdemona though much of his dialogue is dubbed by Welles.
Suzanne Cloutier is wonderful as Desdemona as Othello’s wife who is unaware of what is happening to him as she tries to convince him that she didn’t do anything wrong. Micheal McLiammoir is brilliant as Iago as an ensign who is angry that he’s been passed over as he would deceive and destroy Othello any way he can as MacLiammoir brings some charm and determination into his role. Finally, there’s Orson Welles in an amazing performance as Othello where Welles brings in that bravado and larger-than-life persona of the character but also has him display some humility to convey the vulnerability in the character.
Othello is a remarkable film from Orson Welles that features great performances from Welles and Micheal MacLiammoir. It’s a film that doesn’t just present one of William Shakespeare’s play into this study of tragedy and deceit into something that is very stylish. It also plays into Welles’ interest in man and how one could fall through petty jealousy and hatred. In the end, Othello is a sensational film from Orson Welles.
Orson Welles Films: Citizen Kane - The Magnificent Ambersons - The Stranger (1946 film) - The Lady from Shanghai - Macbeth (1948 film) - Mr. Arkadin - Touch of Evil - The Trial (1962 film) - Chimes at Midnight - The Immortal Story - F for Fake - Filming Othello – The Other Side of the Wind
Related: Orson Welles: The One-Man Band - The Eyes of Orson Welles - They’ll Love Me When I’m Dead - The Auteurs #69: Orson Welles: Part 1 - Part 2
© thevoid99 2015
Based on the play Titus Andronicus by William Shakespeare, Titus is the story of a general who tries to seek vengeance against a queen as it would play into his own downfall. Written for the screen and directed by Julie Taymor, the film is a radicalized interpretation of the Shakespeare play where the Roman Empire is set in the mid-20th Century in a world that is very anachronistic and chaotic as it plays to this general’s downfall as the titular character is played by Anthony Hopkins. Also starring Jessica Lange, Harry Lennix, Alan Cumming, Laura Fraser, Jonathan Rhys-Meyers, Colm Feore, James Frain, Matthew Rhys, Angus MacFayden, and Geraldine McEwan. Titus is a sprawling and rapturous film from Julie Taymor.
Set in a world that mixes Fascist-era Italy and Ancient Rome into an anachronistic world, the film revolves the downfall of a general in the hands of a queen whose life he had destroyed as she would seek vengeance for the death of her son in the most graphic way. There, Titus Andronicus copes with the decisions he has made in his life as well as the decision of who would be Rome’s new emperor as it would come back to haunt him as he faces dishonor and ruin in himself and his own family. Much of it involving a plot by the Queen of the Goths in Tamora (Jessica Lange) who sways the mind of Rome’s new emperor Saturninus (Alan Cumming) while conspiring with her moor lover Aaron (Harry Lenix).
Julie Taymor’s script does explore the world of vengeance in all of its fallacies where Titus would descend to madness not only by his own hands but also in the way his own family would be affected. Much of it is observed by his young grandson in young Lucius (Osheen Jones) who is mostly silent for much of the film. The script also involves commentary by Aaron who would break the fourth wall to unveil many of his plans to destroy Andronicus and his family. Even as Aaron becomes an integral part into playing both sides for his own gain until he would become vulnerable in his attempt to play into observing Titus’ own fragile state of mind.
Taymor’s direction is definitely grand in not just the way he tells the story but in how she would fuse to different periods of Roman history into a story where it could’ve been told in any time frame. Shooting on location in various areas in Rome and nearby as well as a few of its ancient monuments. Taymor definitely aims for something that mixes decadence and surrealism in her approach to telling the story as she goes for all sorts of dazzling visuals in her compositions. Even as she isn’t afraid to put in things like video game arcades or pool floats into the film as it is obvious they weren’t around during Fascist-era Italy. Using a lot of wide and medium shots as well as some low camera angles, Taymor goes for a film that plays into a man coping with a world that is changing as the decisions he made for this next era of Rome would have some serious repercussions.
Taymor also infuses a lot of these lavish moments about the way some of the parties emerge as well as some of the film’s violence. The latter of which involves rape and other graphic moments where it is told in a very stylistic manner. Even as the impact of what Titus would see are shown in some very eerie close-ups as while Taymor would use wide shots and some unique framing devices to play into his own confusion and the need to comprehend about what had happened. All of which would lead to some definite extremes into Titus’ own plot for vengeance as it played into its fallacies as well as the cost of what one man did for vengeance as well as Tamora’s own quest as it led to tragedy. Overall, Taymor creates a very extravagant yet harrowing film about the fallacy of revenge.
Cinematographer Luciano Tovoli does brilliant work with the film‘s very colorful and lavish cinematography with its use of stylish lights and shades for some of its nighttime interior/exterior scenes along with vibrant colors for the daytime scenes. Editor Francoise Bonnot does amazing work with the editing as it is very stylized with its jump-cuts and dissolves to play into some the craziness that goes on in the film as well as in some of the drama. Production designer Dante Ferretti, with set decorator Carlo Gervasi and supervising art director Pier Luigi Basile, does fantastic work with some of the film‘s set pieces from the palace where Saturninus lives in with Tamora to the home of Andronicus. Costume designer Milena Canonero does excellent work with the costumes as they’re lavish from the gowns that Tamora wears as well as the design of the uniforms and clothes that the men wear.
Special makeup effects artist Tony Gardner does superb work with the makeup for some of the characters in their look as well as some of things they wear to play into Andronicus‘ troubled mind. Visual effects supervisor Kent Houston does terrific work with the visual effects with its emphasis on surrealism for the dream sequences as well as some of the key elements that drive the story. Sound designer Blake Leyh does nice work with the sound to play into some of the sound effects as well as the sense of terror that occurs in the film in terms of its plotting and in Titus‘ mad state of mind. The film’s music by Elliot Goldenthal is wonderful for its orchestral-based score that features elements of bombast to play into the drama as well as some comical moments as the score features elements of electronic music and rock with contributions by Page Hamilton of the alternative-metal band Helmet.
The casting by Irene Lamb and Ellen Lewis is incredible as it features some notable small performances from Raz Degan as Tamora’s eldest son Alarbus, Geraldine McEwan as a nurse who would bring Aaron his son, and as the trio of Titus’ youngest sons, there’s Kenny Doughty, Blake Ritson, and Colin Wells as the men who become victimized in Aaron and Tamora’s plot. Jonathan Rhys Meyers and Matthew Rhys are superb as Tamora’s son in Chiron and Demetrius, respectively, who create chaos and cause trouble while James Frain is terrific as Saturninus’ brother Bassianus who is love with Lavinia as he tries to bring peace only to be a source of ire for Saturninus. Osheen Jones is wonderful as the young Lucius who is the film’s observer while Angus MacFayden is excellent as Titus’ eldest son Lucius who tries to see reason for everything while coping with the chaos that is emerging. Colm Feore is fantastic as Titus’ brother Marcus who is sort of the film’s conscious as he copes with the decisions his brother has made as well as the sense of chaos that has loomed over his entire family.
Laura Fraser is amazing as Titus’ daughter Lavinia who becomes victimized by Chiron and Demetrius in the worst way where she spends much of the film in silence to display the loss of innocence that she once represented. Harry Lennix is great as Tamora’s lover Aaron who would be the architect of the conspiracy as he often breaks the fourth wall to create elements of chaos. Alan Cumming is brilliant as Saturninus as the new emperor who is this man that represents a form of chaos as he becomes drunk with power. Jessica Lange is remarkable as Tamora as Lange brings a lot of theatricality and ferocity to her performance as a woman who felt wronged as she plots the ultimate revenge. Finally, there’s Anthony Hopkins in a tremendous performance as the titular character as a general whose decisions that he makes would come back to haunt him as he descends into madness where Hopkins brings a lot of energy to his role as well as not afraid to ham it up.
Titus is a phenomenal film from Julie Taymor. Armed with a great cast as well as dazzling visuals and sprawling set pieces. It’s a film that plays into the fallacy of revenge as it’s told with such style that pays true to the works of William Shakespeare. In the end, Titus is a spectacular film from Julie Taymor.
Julie Taymor Films: Frida - Across the Universe - The Tempest - The Auteurs #42: Julie Taymor
© thevoid99 2015
Based on the play by William Shakespeare, The Tempest is the story of a duchess who has been exiled to a remote island with her daughter as she seeks revenge through magic as well as uncover the conspiracy by those who betrayed her. Written for the screen and directed by Julie Taymor, the film is a different take of the Shakespeare play where the Prospero character is changed from a man to a woman as she is played by Helen Mirren. Also starring Russell Brand, Felicity Jones, Djimon Hounsou, Ben Whishaw, Reeve Carney, Tom Conti, Chris Cooper, Alan Cumming, David Strathairn, and Alfred Molina. The Tempest is a grand and stylish film from Julie Taymor.
Set in a remote island, the film plays into an exiled duchess who is seeking revenge through magic against those who usurped her as she hopes to reclaim what is hers as well as what her daughter is supposed to have. Much of it plays to Prospera’s thirst for vengeance as she had been wronged by many that includes the King of Naples Alonso (David Strathairn) and her own brother Antonio (Chris Cooper) as the latter was the mastermind for her exile. For 12 years, Prospera and her daughter Miranda (Felicity Jones) remain on this island as Prospera learns that Alonso’s ship is on route towards the island with his party as she sees this as an opportunity to exact her revenge. While she gets help from her spirit Ariel (Ben Whishaw), she deals with circumstances that are beyond her control once Miranda encounters Alonso’s son Ferdinand (Reeve Carney).
The film’s screenplay does retain much of the dialogue that Shakespeare wrote while Julie Taymor does create new interpretations in order to play into this drama about betrayal, conspiracies, and redemption. Even as Prospera is dealing with the betrayal from her brother as she was supposed to be in power as well as Miranda. Through a shipwreck that Prospera would cause from her magical powers, the survivors in Alonso, Antonio, Alonso’s brother Sebastian (Alan Cumming), and Alonso’s counselor Gonzalo (Tom Conti) go on a journey to find Ferdinand who was shipwrecked on another part of the island. There’s also another subplot involving a disgruntled slave of Prospera in Caliban (Djimon Hounsou) who would conspire with two of Alonso’s servants in Stephano (Alfred Molina) and Trinculo) into overthrowing Prospera. It all plays into people trying to get something while underestimating this duchess who finds herself dealing with not just her thirst for revenge but also for the future of her own daughter.
Taymor’s direction is definitely ambitious in terms of its visual scale while she would shoot the film entirely on islands in Hawaii and Lanai to play into its rugged look as well as its different settings such as woods and blacks sands. While Taymor’s use of wide shots are very prevalent, she does maintain a sense of intimacy in terms of the presentation of the performances. Notably in the use of close-ups and medium shots along with some inspiring usage of low-angles to play into the location where the actors use it as a stage and more. Taymor’s approach to directing actors doesn’t just have them recite Shakespeare but also in allowing the actors to create their own interpretations to those roles where there’s a looseness in the direction that is quite engaging to watch. Overall, Taymor creates a very thrilling and evocative film about a duchess seeking revenge from those who betrayed her.
Cinematographer Stuart Dryburgh does excellent work with the film‘s cinematography from the usage of lights for some of the interiors along with some of the nighttime exteriors as well as some colorful scenes set in the forests. Editor Francoise Bonnot does brilliant work with the editing with its usage of fast-cuts, dissolves, and other elements of style to play into the looseness of the film and its offbeat rhythm. Production designer Mark Friedberg and set decorator Alyssa Winter do amazing work with the look of Prospera‘s home and her workshop where she would create her own spells. Costume designer Sandy Powell does fantastic work with the costumes from the white dress that Miranda wears to the lavish cape and dress that Prospera wears.
Prosthetics makeup designer Mike Marino does superb work with the look of Caliban in his rugged look to play into his personality as well as the look of Ariel. Visual effects supervisor Mike Cooper does wonderful work with the visual effects as it plays into the world of mysticism and magic that surrounds Prospera. Sound designer Blake Leyh does nice work with the sound to convey the atmosphere of the locations as well as the sound effects from the spells that Prospera would make. The film’s music by Elliot Goldenthal is terrific for its mixture of bombastic orchestral music with elements of rock as it plays into its extravagance and some of its humor.
The film’s marvelous cast features some notable comic performances from Alfred Molina and Russell Brand in their respective roles as Stephano and Trinculo as two men who are eager to gain the riches of their employers while conspiring with Caliban in overtaking Prospera. Ben Whishaw is terrific as the spirit Ariel as he brings some humor as a figure who helps Prospera while Djimon Hounsou is excellent as the disgruntled slave Caliban who feels unappreciated by Prospera as he hopes to get rid of her. Tom Conti is superb as Alonso’s counselor Gonzalo who was a mentor of Prospera as he tries to make sense of the situation. Alan Cumming is wonderful as Alonso’s brother Sebastian who is a conspirator of Prospera’s exile as he is coerced into trying to do the same to his own brother.
David Strathairn is amazing as King Alonso of Naples as a king who is concerned with finding his son while dealing with some issues in the past as it relates to Prospera. Chris Cooper is brilliant as the devious Antonio who masterminded the exile on his sister as he tries to maintain some power for himself in the hopes that he can be important. Reeve Carney is fantastic as Ferdinand as Alonso’s son who meets Miranda and Prospera as he tries to win over the latter as he reveals to be a good person and a worthy match for Miranda. Felicity Jones is an absolute delight as Miranda as this young woman who falls for Ferdinand while trying to aid her mother in the plans as she knows the role that she is destined to play. Finally, there’s Helen Mirren in an incredible performance as Prospera as Mirren is just so commanding in everything she does while bringing a lot of gravitas to a woman betrayed and seeking vengeance while displaying some sensitivity as it relates to her daughter as Mirren is the star of the film.
The Tempest is a marvelous film from Julie Taymor that features a phenomenal performance from Helen Mirren. The film isn’t just a unique and stylish take on the William Shakespeare play but also a dazzling interpretation that manages to be funny and dramatic. In the end, The Tempest is a rapturous film from Julie Taymor.
Julie Taymor Films: Titus (1999 film) - Frida - Actross the Universe - The Auteurs #42: Julie Taymor
© thevoid99 2014
Directed by Baz Luhrmann, William Shakespeare’s Romeo + Juliet is a modern take on the famed tragic love story involving two young people from feuding families falling in love with each other. With a screenplay Luhrmann and Craig Pearce, the film is the chance to redefine the famed Shakespeare story in a modern setting while retaining Shakespeare’s dialogue to maintain his language. Starring Leonardo diCaprio, Claire Danes, John Leguizamo, Brian Dennehy, Pete Postlethwaite, Paul Sorvino, Diane Venora, Harold Perrineau, Miriam Margoyles, Paul Rudd, and Vondie Curtis-Hall. William Shakespeare’s Romeo + Juliet is a dazzling film from Baz Luhrmann.
The story of Romeo & Juliet is often told in many variations as it is about the tragedy of two young people who fall in love in the middle of a war between their families. By setting it in present time where guns replace swords and cars instead of horses, Baz Luhrmann and co-screenwriter Craig Pearce allow the story to be told for a new audience who might not be able to understand William Shakespeare’s story. As a result, not only does Luhrmann and Pearce were able to be faithful to Shakespeare’s tragedy as well as retain his language but also find a way to make it relevant for a teenage audience as well as be engaging enough for older audiences.
While the script does make some alterations for the story in order to make it more dramatic, Luhrmann and Pearce do maintain that sense of faithfulness in the story while not using exposition to explain the feud between the Capulets and the Montagues other than they’re just two businessmen who hate each other. Caught in the middle of this feud are their children Juliet Capulet (Claire Danes) and Romeo Montague (Leonardo diCaprio) who prefer not to be involved as Juliet is already set to marry a governor’s son in Dave Paris (Paul Rudd) while Romeo is reeling from a break-up. Meeting at party at the Capulets mansion, the two fall in love as they have no idea who they are yet realize what families they’re from. Still, neither Romeo nor Juliet have a care in the world of what their families would think as they hope their union would bring peace to their feuding families though there are those like Juliet’s cousin Tybalt (John Leguizamo) who sees Romeo and the Montagues as villains.
Characters like Juliet’s nurse (Miriam Margoyle) and Father Lawrence (Pete Postlethwaite) would play their roles as those who would try to create the peace between the two families yet events would shatter this peace leading to Romeo’s banishment from Verona Beach and Juliet’s own despair. Even as Father Lawrence would try to do things to get the two together in the film’s third act yet the schematics of what Shakespeare would do to convey the tragedy that is to come.
Luhrmann’s direction is definitely stylish in its presentation as he shoots the film largely in Mexico with bits of Miami as Verona Beach. Filled with an array of dazzling shots and some gorgeous scenery of the locations, the direction is definitely off-kilter in the way the modern world is presented where it’s a mixture of rich and poor where both feuding families go into these locations. While Luhrmann is known for creating images that can be very dazzling and often over-the-top at times. There are also moments where Luhrmann knows when to slow down and create something that is simple and understated such as the scene of Romeo and Juliet seeing each other for the very first time through a fish tank. The way Luhrmann presents this meeting has images that are just beautiful in the way the faces reflect in the glass as there’s a lush musical accompaniment in the background.
It’s one of those moments that shows Luhrmann’s skills as a filmmaker and as a storyteller while he finds a way to inject bits of light humor in the romance while letting Shakespeare’s dialogue flow naturally through the young actors. Even in the way he frames some of the scenes such as the scenes in the church where Luhrmann creates a lot of colorful imagery and maintain that sense of beauty and tragedy that is to happen. The use of TV news footage also helps maintain an air of suspense to establish the chaos of the feud as well as the film’s climax while both films open and end with an anchorwoman (Edwina Moore) reciting the opening and closing text of Shakespeare’s words. Overall, Luhrmann creates a sensational yet entrancing take on William Shakespeare’s romantic tragedy.
Cinematographer Donald M. McAlpine does amazing work with the film‘s colorful cinematography with the use of lights in some of the film‘s interior settings as well as the nighttime exterior scenes along with some lush camera work in the daytime exterior scenes such as the trailer park Romeo was banished to. Editor Jill Bilcock does brilliant work with the film‘s hyper-stylized editing with some of the fast-cutting in the party and confrontation scenes along with some slow yet methodical cuts in some of the film‘s romantic and dramatic moments. Production designer Catherine Martin, with set decorator Brigitte Broch and art director Doug Hardwick, does great work with the look of the Verona Beach with its location dressing and places that Romeo often hangs out as well as some of the interiors of the church and Capulet mansion.
Costume designer Kym Barrett does fantastic work with the costumes from the clothes at the costume party many of the characters wear to some of the colorful casual clothing that Romeo wears and the dresses of Juliet as well as some of the design of the guns the characters carry. Visual effects supervisor Rebecca Marie does nice work with some of the film‘s minimal visual effects such as the minor backdrops of some of the exterior scenes. Sound editor Tim Holland and sound designer Gareth Vanderhope do wonderful work with the sound to capture the atmosphere of the parties as well as the chaos of some of the film‘s violent moments.
The film’s music by Nellee Hooper, Marius de Vries, and Craig Armstrong is superb for its mixture of lush orchestration and low-key electronic music to convey the sense of action and romance with Armstrong‘s string arrangements playing out the sense of romance. The film’s music soundtrack contains an array of pieces ranging from alternative rock, pop, dance, and soul music that is an intoxicating mix to play out the sense of romance and tragedy. Songs by Garbage, Everclear, the Butthole Surfers, Gavin Friday, Des’ree, Radiohead, Kym Mazelle, the Cardigans, and many others are just some of the reasons into why the film is so full of life as it helps elevate the film’s sense of drama.
The casting by David Rubin is incredible as it includes an outstanding collection of actors for this film. In small roles, there’s M. Emmet Walsh as an apothecary who runs a pool hall, Quindon Tarver as a choir boy, Edwina Moore as the anchorwoman, Vincent Laresca and Carlos Martin Manzo Otolora as a couple of Capulet soldiers, Zak Orth and Jamie Kennedy as a couple of Montague men, and Jesse Bradford as Romeo’s cousin Balthasar. Other notable small roles include Vondie Curtis-Hall as the police authority Captain Prince, Dash Mihok as Romeo’s peaceful cousin Benvolio, and Paul Rudd as the very dorky governor’s son Dave Paris who is set to be Juliet’s husband. Miriam Margoyles is wonderful as the nurse who is sort of a mother figure for Juliet as she also tries to help create the union with Romeo. Pete Postlethwaite is superb as Father Lawrence who sees Romeo and Juliet’s love as a chance to end a feud as well as trying desperately to bring true love to the forefront.
Christina Pickles and Brian Dennehy are excellent as Romeo’s parents who are concerned for Romeo while Paul Sorvino and Diane Venora are great as Juliet’s parents where they add a sense of extravagance to their roles. Harold Perrineau is brilliant as Romeo’s friend Mercutio who is a fun-loving man who tries to defend Romeo against the Capulets and Tybalt. John Leguizamo is amazing as Tybalt as a man who hates all Montagues where Leguizamo definitely goes all out for the role of this very vile man.
Finally, there’s the performances of Leonardo diCaprio and Claire Danes in their respective roles as Romeo and Juliet. Both actors bring in performances that are just phenomenal with diCaprio maintaining that mix of sensitivity and bravura as Romeo while Danes brings a sense of awkward innocence and angst to her role as Juliet. The duo are really the highlight of the film as they have great chemistry together and definitely display chops that they would unveil in the years to come.
William Shakespeare’s Romeo + Juliet is a spectacular film from Baz Luhrmann that features sensational performances from Leonardo diCaprio and Claire Danes. Along with great technical work, a brilliant soundtrack, and a superb supporting cast. It’s a film that takes William Shakespeare’s romantic tragedy to the modern world and make it accessible for a new audience while having something Shakespeare fans can enjoy. In the end, William Shakespeare’s Romeo + Juliet is an enchantingly rich film from Baz Luhrmann.
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