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As You Like It (1992)

6.0
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Ratings: 6.0/10 from 52 users  
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Hiding out in an industrial wasteland from the murderous wrath of a regional ruler, a woman, disguised as a boy, gives wooing lessons to the edgy lad who proclaims he loves her.

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Title: As You Like It (1992)

As You Like It (1992) on IMDb 6/10

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Cast

Cast overview, first billed only:
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Cate Fowler ...
First Lord / Background
Robin Meredith
John Tams ...
Amiens / Background
Bernard Padden ...
Dennis
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Emma Croft ...
Griff Rhys Jones ...
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Mr. Le Beau / Corin
Don Henderson ...
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Storyline

The younger of two sibling executives has usurped the power of his elder brother. Fearing retribution from this action, he plans to strike before being stricken, causing many around him to flee lest they soon meet untimely ends, hiding out in the industrial wastelands and abandoned waterfront territories. Orlando is one such displaced runaway, an angst-ridden youth due to an elder brother, Oliver, who has the family fortune and plots harm against him. Before fleeing, Orlando meets and falls for the usurping executive's niece, Rosalind. Soon after, Rosiland must go into hiding as well, but disguised as a boy named Ganymede for protection. In the wastes Orlando and "Ganymede" meet up, but in that Orlando doesn't recognize her, Rosalind/Ganymede maneuvers him into taking lessons from her/him by which to purge him of (test) his romantic folly. Among the newly homeless people, these are not the only two entering the trials of love and wooing. Written by statmanjeff

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Genres:

Romance

Certificate:

G | See all certifications »
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Release Date:

9 October 1992 (UK)  »

Also Known As:

As You Like It  »

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Did You Know?

Trivia

The final cinema film of Cyril Cusack. See more »

Quotes

Rosalind: I pray you, do not fall in love with me, for I am falser than vows made in wine. Besides, I like you not!
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Connections

Version of As You Like It (1912) See more »

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User Reviews

 
Misguided but occasionally good
15 November 2000 | by (Canada) – See all my reviews

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.


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