A duke usurps his brother's land and power, banishing him and his retinue into the forest of Arden. The banished duke's daughter, Rosalind, remains with her cousin Celia. She has fallen in ...
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After the overthrowing of Duke Senior by his tyrannical brother, Senior's daughter Rosalind disguises herself as a man and sets out to find her banished father while also counseling her clumsy suitor Orlando in the art of wooing.
Rosalind, the daughter of Duke Senior (the banished duke), is raised at the court of Duke Frederick (who is younger brother to Duke Senior and took over his dukedom), with her cousin Celia ... See full summary »
Queen Elizabeth is running this show. The men in her court should be thinking about how to add to the glory of the Elizabethan Age and how to foil those pesky Spanish who got far too much ... See full summary »
William K. Howard
During the First World War, the Russian officer Captain Ivan Ignatoff falls in love with his nurse, Natasha Kovrin. But she is subject to an upcoming marriage of family convenience to ... See full summary »
A duke usurps his brother's land and power, banishing him and his retinue into the forest of Arden. The banished duke's daughter, Rosalind, remains with her cousin Celia. She has fallen in love with Orlando, but he has his own tyrannical brother to contend with, so he joins those in the forest. Rosalind, now banished, disguises herself as a young man, with Celia as her servant, and follows Orlando into the forest. There, nature stirs love's fires in various rustics as well as in those from the court. Phebe, a shepherdess loved by Silvius, is herself smitten with the disguised Rosalind. Can true love find a way, and can brothers be reconciled and harmony restored? Written by
This was Laurence Olivier's first of only two appearances in a Shakespearean theatrical film that he did not direct himself. The second was Othello (1965), in which he played the title role. See more »
And so, from hour to hour, we ripe and ripe, and then from hour to hour, we rot and rot; and thereby hangs a tale.
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I don't think it's Elisabeth Bergner's fault that her performance so completely obscures the character of Rosalind. She is the focus and heart of the play, probably the most admirable woman character in all of Shakespeare's plays. But this production turns the role into farce and misses the point that she is a powerful personality. She is a person in control of herself and of the other characters and the plot. Thanks to the "treatment" of the play by J. M. Barrie who appears to have consulted and unfortunately controlled the production we have Peter Pan playing the role. Mr. Barrie did a wonderful thing in creating Peter Pan but it was a dreadful mistake to try to transplant him/her to this play.
The other characters were OK and it is interesting to see Olivier so young. Too bad he didn't have the vehicle he deserved. It might have been a very memorable production.
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