There probably aren't that many films that break most of the rules and succeed, but this one makes a strong effort. Let's see...
1) It's wordy. Of course, it's Shakespeare.
2) It has too many characters. See above.
3) It has no clearly identifiable main character. Huge defect in the eyes of Hollywood. How did it ever get produced?
4) It's arty. With Shakespeare, it's either arty or PBS/BBS drab. Let's settle for arty in that case.
Despite all these "handicaps," some of the directorial touches actually succeed. First, the translation to Tuscany circa 1900 takes advantage of that era's interest in fairy lore, romantic music, and the technology (like bicycles and phonographs) that was rendering fairy lore quaint. We are invited to see the fairies themselves encounter the technology that would obsolete them. Despite the translation of setting, the textual references to ancient Athens remain, and the viewer is--it is implied--requested to accommodate.
More importantly, this version contains the most sensitive treatment of the "mechanics," the common working men staging a play for the Duke, that I have ever seen. Nick Bottom retains his buffoonery, but a more sensitive side is brought out as he rejoins his fellows after the "dream." The production of "Pyramus and Thisby" contains a huge surprise that I won't spoil here. Certainly worth the price of admission for any fan of the bard who's seen most previous film versions of the play within the play.
The casting has its pluses and minuses. In general, the Brits fill their parts well, but the Americans are a step behind. Calista Flockhart wrestles with her words as if speaking a foreign language, and Stanley Tucci, although a great actor, does not give the impression that he can travel 50,000 odd miles per hour. We need more contrast between Puck and Rupert Everett's subdued, thoughtful Oberon. Finally, Michelle Pfeiffer, although a beautiful woman, does not give the impression of a force of nature. Rich housewife is closer to the mark. The exception to the rule is Kevin Kline, who distinguishes himself even above Robin Williams as a comic actor with the potential for serious depth.
Definitely worth checking out as the most accessible and competent Midsummer on film.
1) It's wordy. Of course, it's Shakespeare.
2) It has too many characters. See above.
3) It has no clearly identifiable main character. Huge defect in the eyes of Hollywood. How did it ever get produced?
4) It's arty. With Shakespeare, it's either arty or PBS/BBS drab. Let's settle for arty in that case.
Despite all these "handicaps," some of the directorial touches actually succeed. First, the translation to Tuscany circa 1900 takes advantage of that era's interest in fairy lore, romantic music, and the technology (like bicycles and phonographs) that was rendering fairy lore quaint. We are invited to see the fairies themselves encounter the technology that would obsolete them. Despite the translation of setting, the textual references to ancient Athens remain, and the viewer is--it is implied--requested to accommodate.
More importantly, this version contains the most sensitive treatment of the "mechanics," the common working men staging a play for the Duke, that I have ever seen. Nick Bottom retains his buffoonery, but a more sensitive side is brought out as he rejoins his fellows after the "dream." The production of "Pyramus and Thisby" contains a huge surprise that I won't spoil here. Certainly worth the price of admission for any fan of the bard who's seen most previous film versions of the play within the play.
The casting has its pluses and minuses. In general, the Brits fill their parts well, but the Americans are a step behind. Calista Flockhart wrestles with her words as if speaking a foreign language, and Stanley Tucci, although a great actor, does not give the impression that he can travel 50,000 odd miles per hour. We need more contrast between Puck and Rupert Everett's subdued, thoughtful Oberon. Finally, Michelle Pfeiffer, although a beautiful woman, does not give the impression of a force of nature. Rich housewife is closer to the mark. The exception to the rule is Kevin Kline, who distinguishes himself even above Robin Williams as a comic actor with the potential for serious depth.
Definitely worth checking out as the most accessible and competent Midsummer on film.