As You Like It (1992)

Director:

Christine Edzard

Writer:

William Shakespeare (play)

Release Date:

9 October 1992 (UK)

Genre:

Romance

Plot Keywords:

Shakespeare In Modern Dress | Modern Day Adaptation | Shakespeare's As You Like It | William Shakespeare | Gender Disguise

Cast

Tony Armatrading	...	Charles
Celia Bannerman	...	Celia
Ewen Bremner	...	Silvius
Jonathan Cecil	...	Lord
Emma Croft	...	Rosalind
Cyril Cusack	...	Adam
Cate Fowler	...	Lord
James Fox	...	Jaques
Valerie Gogan	...	Phoebe
Roger Hammond	...	Mr. Lebeau
Don Henderson	...	The Dukes
Miriam Margolyes	...	Audrey
Michael Mears	...	Lord
Murray Melvin	...	Sir Oliver Martext
Robin Meredith
Griff Rhys Jones	...	Touchstone
Andrew Tiernan	...	Orlando / Oliver

Country:

UK

Language:

English

Color:

Color

Sound Mix:

Stereo

Certification:

France:U | USA:G

Filming Locations:

Surrey Quays, Rotherhithe, London, England, UK

Company:

Sands Films

Trivia:

The final cinema film of Cyril Cusack.

Movie Connections:

Version of "BBC Sunday-Night Theatre: As You Like It (#4.11)" (1953)

Misguided but occasionally good

This is a rather frustrating film, with occasional patches of brilliance lost in a generally dull and inept staging. It's an attempt at making a modern-dress film of Shakespeare's play. The Court of France becomes a flashy office block in London, and the Forest of Arden becomes the banks of the dirty river Thames. The pastoral shepherds become homeless people. Purists may shriek, but this is actually rather clever, since Shakespeare's Arden is not meant to be a jolly happy place; it's meant to be a place where the attempt to live a simple life is complicated by the fact that the winter winds are freezing cold, and that poor people can be just as miserable as kings.

There are some good performances, especially Andrew Tiernan, who doubles Oliver and Orlando, and Edward Fox, who plays Jaques as a drily witty public-school toff, slumming it with the homeless. Occasionally the new setting works really well, such as when Orlando is slouching in the foyer of the 'court', and when the girls are seen trailing across an industrial wasteland, carrying their belongings in Harrods shopping bags. And I liked seeing Audrey as the owner of a caravan-cafe, and her tomato ketchup sandwiches are funny.

But there are some awful moments too. Griff Rhys Jones' Touchstone must be the least amusing performance in the history of film. The wrestling match happens, but is not shown on camera (we only see the audience's response), presumably because they couldn't think of a modern equivalent but didn't want to cut the scene. Worst of all is the dire folk music soundtrack, which belongs in a 'traditional' film of the play rather than a modern interpretation. For most of its duration, the film is slow, awkward and ultimately foolish.

I would like to be supportive of this film. It certainly should be viewed by anyone interested in the play. Although its faults outweigh its merits, there are moments that will illuminate your understanding of the play, and it's good that there are filmmakers who want to present Shakespeare in a controversial way. Christine Edzard is the precursor to Julie Taymor's 'Titus', and Baz Luhrmann's 'Romeo and Juliet'. And for that we should be grateful.