THE PEAS
Words given by William Shakespeare
Another masterful adaptation of Shakespeare to film given by Kenneth Branagh
The beautiful light of sunny Tuscany - Watching this film's location shots can summon up images of summer even on a dark and dreary winter's day
Branagh's use of mainline American actors such as Denzel Washington as Don Pedro, Keanu Reeves as Don John and Michael Keaton as Dogberry provides an interesting contrast with accomplished Shakespearian actors such as Briers (Lenato) and Blessed (Antonio). A great deal of pleasant suspense is added to the equation as the viewer eagerly hangs on every word - in every scene - anticipating flubs as the Hollywood acolytes attempt Shakespeare. At the same time we have the sturdy declamations made by the British pro's who are accustomed to projecting the Bard through on up and to the last row with a ceaseless and stagy confidence
Watch carefully as Washington (Don Pedro) engages Beatrice (Emma Thompson) in talk of getting a husband:
------------Beatrice: Good Lord for alliance! Thus goes everyone to the world but I, and I am sunburnt; I may sit in a corner and cry 'heigh-ho!' for a husband.
Don Pedro: Lady Beatrice, I will get you one.
Beatrice: I would rather have one of your father's getting. Hath your grace not a brother like you? Your father got excellent husbands, if a maid could come by them.
Don Pedro: Will you have me, lady?
Beatrice: No, my lord, unless I might have another for working-days. Your Grace is too costly to wear everyday. But I beseech your Grace to pardon me; for I was born to speak all mirth and no matter.
Don Pedro: Your silence most offends me, and to be merry best becomes you; for, out of question, you were born in a merry hour.
Beatrice: No, sure, my lord, my mother cried; but then there was a star danced, and under that was I born... (Beatrice exits)
Don Pedro: By my troth, a pleasant-spirited lady. --------------
Robert Sean Leonard and Kate Beckinsdale make a pretty pair as the young lovers, Claudio and Hero. Kate Beckinsdale comes across as being particularly well scrubbed
Branagh and his then wife Thompson were more than up to playing the roles of Benedick and Beatrice, the once assiduous enemies brought to the altar by a curious subterfuge of emotion foisted on them by their friends
Branagh (Benedick) slamming Leonard (Claudio) up against the wall to deliver a threat of mortal retribution for the wrongs done to Hero.
Emma Thompson's voice heard as her words flash over the still blacked out screen at the beginning of the movie and the song at the end are both memorable and provide this movie-play with an effective entrance and exit
THE SEAS
One shot--and it's a short one--shown at the beginning of the film of Don Pedro's men offering a cheer as they exult in their full galloped charge towards Messina. The whole company of soldiers is flashed on a wide front on the whole screen in much the same manner as the opening to Bonanza. I kept looking for Hoss and Little Joe to show themselves amongst the merry company
A shirtless Keanu Reeves (Don John) gets what must qualify as the oiliest massage in the history of film from one of his henchman -- Branagh trying to offer up a little beefcake to any of Reeves' fans who might have accidentally stumbled into the theater.
Leonardo and Beckinsdale (Claudio and Hero) cavort like young foals around Beatrice and Benedick's contrempts too quickly after Hero's revealed resurrection.
It's interesting to consider that Branagh and Thompson were a bit more than halfway through their short marriage at the time that they played Benedick and Beatrice. They both excel in their roles --however, Branagh seems to outdo Thompson in the shift of emotion that takes place that turns these sworn, twin haters of marriage into lovebirds. Thompson seems to lose just a little in this transition. Watch for a bit of a hitch in the scene where she bids Benedick to go and kill Claudio. Benedick resists at first but then agrees as a concession to his new love for Beatrice. Thompson trudges away from Branagh just an instant of a second too soon in this exchange --and doesn't seem able to return any of the decisive governance of passion that Branagh exhibits. Makes you wonder what may have been going on (or going off) off-camera.
.
Words given by William Shakespeare
Another masterful adaptation of Shakespeare to film given by Kenneth Branagh
The beautiful light of sunny Tuscany - Watching this film's location shots can summon up images of summer even on a dark and dreary winter's day
Branagh's use of mainline American actors such as Denzel Washington as Don Pedro, Keanu Reeves as Don John and Michael Keaton as Dogberry provides an interesting contrast with accomplished Shakespearian actors such as Briers (Lenato) and Blessed (Antonio). A great deal of pleasant suspense is added to the equation as the viewer eagerly hangs on every word - in every scene - anticipating flubs as the Hollywood acolytes attempt Shakespeare. At the same time we have the sturdy declamations made by the British pro's who are accustomed to projecting the Bard through on up and to the last row with a ceaseless and stagy confidence
Watch carefully as Washington (Don Pedro) engages Beatrice (Emma Thompson) in talk of getting a husband:
------------Beatrice: Good Lord for alliance! Thus goes everyone to the world but I, and I am sunburnt; I may sit in a corner and cry 'heigh-ho!' for a husband.
Don Pedro: Lady Beatrice, I will get you one.
Beatrice: I would rather have one of your father's getting. Hath your grace not a brother like you? Your father got excellent husbands, if a maid could come by them.
Don Pedro: Will you have me, lady?
Beatrice: No, my lord, unless I might have another for working-days. Your Grace is too costly to wear everyday. But I beseech your Grace to pardon me; for I was born to speak all mirth and no matter.
Don Pedro: Your silence most offends me, and to be merry best becomes you; for, out of question, you were born in a merry hour.
Beatrice: No, sure, my lord, my mother cried; but then there was a star danced, and under that was I born... (Beatrice exits)
Don Pedro: By my troth, a pleasant-spirited lady. --------------
Robert Sean Leonard and Kate Beckinsdale make a pretty pair as the young lovers, Claudio and Hero. Kate Beckinsdale comes across as being particularly well scrubbed
Branagh and his then wife Thompson were more than up to playing the roles of Benedick and Beatrice, the once assiduous enemies brought to the altar by a curious subterfuge of emotion foisted on them by their friends
Branagh (Benedick) slamming Leonard (Claudio) up against the wall to deliver a threat of mortal retribution for the wrongs done to Hero.
Emma Thompson's voice heard as her words flash over the still blacked out screen at the beginning of the movie and the song at the end are both memorable and provide this movie-play with an effective entrance and exit
THE SEAS
One shot--and it's a short one--shown at the beginning of the film of Don Pedro's men offering a cheer as they exult in their full galloped charge towards Messina. The whole company of soldiers is flashed on a wide front on the whole screen in much the same manner as the opening to Bonanza. I kept looking for Hoss and Little Joe to show themselves amongst the merry company
A shirtless Keanu Reeves (Don John) gets what must qualify as the oiliest massage in the history of film from one of his henchman -- Branagh trying to offer up a little beefcake to any of Reeves' fans who might have accidentally stumbled into the theater.
Leonardo and Beckinsdale (Claudio and Hero) cavort like young foals around Beatrice and Benedick's contrempts too quickly after Hero's revealed resurrection.
It's interesting to consider that Branagh and Thompson were a bit more than halfway through their short marriage at the time that they played Benedick and Beatrice. They both excel in their roles --however, Branagh seems to outdo Thompson in the shift of emotion that takes place that turns these sworn, twin haters of marriage into lovebirds. Thompson seems to lose just a little in this transition. Watch for a bit of a hitch in the scene where she bids Benedick to go and kill Claudio. Benedick resists at first but then agrees as a concession to his new love for Beatrice. Thompson trudges away from Branagh just an instant of a second too soon in this exchange --and doesn't seem able to return any of the decisive governance of passion that Branagh exhibits. Makes you wonder what may have been going on (or going off) off-camera.
.