Chekov's Uncle Vanya, transposed to turn-of-the-century North Wales, where the peace and tranquility of a country house is disturbed by the arrival of the estate's tyrannical owner and his ... See full summary »
Joseph K. awakes one morning, to find two strange men in his room, telling him he has been arrested. Joseph is not told what he is charged with, and despite being "arrested," is allowed to ... See full summary »
David Hugh Jones
At an undisclosed location and time an Empress has seven years to provide her Emperor with an heir to his throne. If she does not succeed during this time, the Emperor is free to marry a ... See full summary »
Jonathan Rhys Meyers,
Aging screenwriter Felix Bonhoeffer has lived his life in two states of existence: in reality and his own interior world. While working on a murder mystery script, and unaware that his brain is on the verge of implosion, Felix is baffled when his characters start to appear in his life, and vice versa.
War begets revenge. Victorious general, Titus Andronicus, returns to Rome with hostages: Tamora queen of the Goths and her sons. He orders the eldest hewn to appease the Roman dead. He declines the proffered emperor's crown, nominating Saturninus, the last ruler's venal elder son. Saturninus, to spite his brother Bassianus, demands the hand of Lavinia, Titus's daughter. When Bassianus, Lavinia, and Titus's sons flee in protest, Titus stands against them and slays one of his own. Saturninus marries the honey-tongued Tamora, who vows vengeance against Titus. The ensuing maelstrom serves up tongues, hands, rape, adultery, racism, and Goth-meat pie. There's irony in which two sons survive. Written by
When Marcus (Colm Feore) finds Lavinia (Laura Fraser, the burnt branches surrounding her are a representation of how much she has been destroyed and mutilated from her original beauty. Taymor based the image of Lavinia on the tree trunk on an Edgar Degas' ballerina on a pedestal. See more »
When Aaron speaks saying: "Come on, my lords, the better foot before:
Straight will I bring you to the loathsome pit
Where I espied the tiger fast asleep." His actually says "panther" as opposed to "tiger" (as is written in the original play). See more »
Chiron, thy years wants wit, thy wit wants edge and manners, to intrude where I am graced, and may for aught thou knowest, affected be.
Demetrius, thou dost overween it all and so in this, to bare me down with braves. 'Tis not the difference of a year or two makes me less gracious or thee more fortunate. I am as able and as fit as thou to serve and deserve my mistress' grace, and that my sword upon thee shall approve. And plead my passions for Lavinia's love.
[to the camera]
Clubs, clubs! These ...
[...] See more »
Titus. Where to begin? Oh yes, at the beginning. William Shakespeare wrote Titus Andronicus early in his career. VERY early in his career, and such is apparent. On stage, this script as a play must be awful. Character motivations are not explained, there are holes in the action, a character leaves the country and then comes back, seemingly only to set up the climax. There is little explanation of action, and it is less poetic than some of his masterworks (Midsummer, Hamlet, Lear). And yet, Julie Taymor, renowned for her fantastical vision of The Lion King on Broadway, chose this, possibly Shakespeare's most problematic play, to be her introduction to film.
This adaptation is wonderful. Why? Because it fills all the holes of the initial play. She adds scenes without dialogue, she makes the setting timeless and symbolic, and removes it from the realm of reality, wherein the play never worked to begin with. She tranforms a difficult play about revenge into much, much more. It is now a feast for the eyes, a commentary on revenge, power, theatre, film, and villiany.
To be fair, I am not giving Shakespeare enough credit. The play he wrote has many marvelous aspects, mainly the Aaron - possibly Shakespeare's greatest villian. He is unrelenting. And in the film, he is wonderfully acted. Titus is a good character too, and Anthony Hopkins acts him well enough.
It would be easy for a Shakespeare purist to say "eww, what was that," but I would call this retelling a gem. It is moody, gritty, passionate, clever, awe-inspiring, and true to the theme of the original script. It has only added to Shakespeare's words. Is it perfect? No. It does make you stretch yourself, the ending is a head-scratcher, but this will be my favorite Shakespeare adaptation for a long time to come. 9/10
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