At 10, Fanny Price, a poor relation, goes to live at Mansfield Park, the estate of her aunt's husband, Sir Thomas. Clever, studious, and a writer with an ironic imagination and fine moral ... See full summary »
Jonny Lee Miller,
Brother and sister Viola and Sebastian, who are not only very close but look a great deal alike, are in a shipwreck, and both think the other dead. When she lands in a foreign country, Viola dresses as her brother and adopts the name Cesario, becoming a trusted friend and confidante to the Count Orsino. Orsino is madly in love with the lady Olivia, who is in mourning due to her brother's recent death, which she uses as an excuse to avoid seeing the count, whom she does not love. He sends Cesario to do his wooing, and Olivia falls in love with the disguised maiden. Things get more complicated in this bittersweet Shakespeare comedy when a moronic nobleman, Sir Andrew Aguecheek, and a self-important servant, Malvolio, get caught up in the schemes of Olivia's cousin, the obese, alcoholic Sir Toby, who leads each to believe Olivia loves him. As well, Sebastian surfaces in the area, and of course there is Feste, the wise fool, around to keep everything in perspective and to marvel, like we ... Written by
Gary Dickerson <email@example.com>
Trevor Nunn's adaptation of Twelfth Night is exceptionally beautiful, well acted, and emotionally engaging. Ben Kingsley's performance as the Fool stands out as magnificent, but the entire ensemble comes off very well. The film nails both the joy and the darkness of Shakespeare's play - and the play, make no mistake, contains plenty of dark and strange moments when things go, as the drunken uncle Sir Toby Belch says, "Out of tune, sir." The filmmakers deserve credit for not glossing over the shades of sadism in Toby's treatment of Malvolio or the shallow fickleness of Orsino's character. The wintry Cornwall setting dovetails perfectly with the mood of the play, half sun and half shadow, and the costume design (roughly Edwardian, though I am not an expert on fashion history) creatively evokes the luxury of Orsino and Olivia's courtly world, while allowing for - even necessitating - the brilliant re-imagining of the Fool as bohemian vagabond.
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