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The story of King George VI of the United Kingdom of Great Britain and Northern Ireland, his impromptu ascension to the throne and the speech therapist who helped the unsure monarch become worthy of it.
Helena Bonham Carter
Will Shakespeare is a known but struggling poet, playwright and actor who not only has sold his next play to both Philip Henslow and Richard Burbidge but now faces a far more difficult problem: he is bereft of ideas and has yet to begin writing. He is in search of his muse, the woman who will inspire him but all attempts fail him until he meets the beautiful Viola de Lesseps. She loves the theatre and would like nothing more than to take to the stage but is forbidden from doing so as only men can be actors. She is also a great admirer of Shakespeare's works. Dressing as a man and going by the name of Thomas Kent, she auditions and is ideal for a part in his next play. Shakespeare soon sees through her disguise and they begin a love affair, one they know cannot end happily for them as he is already married and she has been promised to the dour Lord Wessex. As the company rehearses his new play, Will and Viola's love is transferred to the written page leading to the masterpiece that is ... Written by
Simon Callow was originally cast as Philip Henslowe. However, after the project was re-activated, Geoffrey Rush was cast as Henslowe, and Callow was offered the smaller but key role of Tilney. See more »
Philip Henslowe (Geoffrey Rush) is depicted as being constantly in debt, yet the opposite is true - money lending was one of his professions. The filmmakers knew this. See more »
Those who are looking for a historically accurate portrayal of Shakespeare's life had better look elsewhere - but then this was never intended to be a serious look at the life of the man. Those who attack it for its' fanciful relation to history have missed the point entirely. It is a romantic comedy obsessed with nothing more than making references in storyline and plot to the plays of Shakespeare and his contemporaries, and those references are made so seamlessly it could almost be assumed that what we see on the screen actually happened to the man.
In fact the overall story we are presented with is not new. Anyone who had read or seen `Romeo and Juliet' will have a pretty shrewd idea of the path the narrative takes - the twist is that in the film, Shakespeare writes the play `Romeo and Juliet' in parallel to, and based on, his `real life' relationship with Lady Viola.
The opening sees Shakespeare (Joseph Fiennes) desperately trying to write the masterpiece `Romeo and Ethel, the Pirates Daughter', a comedy he hopes will rival anything by Christopher Marlow (Rupert Everett). Words fail him until his muse appears in the shape of Lady Viola (Gwyneth Paltrow), a noblewoman whose love for the work of Shakespeare's leads her to dress as a boy (since at the time women were not allowed on stage) and attend an audition in disguise (mistaken identity and women dressing as men are devices Shakespeare often used in his comedies). She is given the role of Romeo and begins a forbidden relationship with Shakespeare, the only one who knows her real identity, in spite of the fact that she is betrothed to the villainous Lord Wessex (Colin Firth) at Queen Elizabeth's (Judi Dench) command.
Fiennes portrays Shakespeare wonderfully and not as the infallible master of rhetoric. He takes the Bard from the pedestal and brings him down to a human level that we can all sympathise with. His relationship with Paltrow is handled sensitively, although many of the scenes that are exclusively their own did have enough a little too much `Chick-Flick' for my liking. Paltrow's R.P. accent is technically very good, and though I normally like my English to be played by the English, I was as happily surprised by her performance as I was by Ben Affleck's brief, but memorable portrayal of the self-important Ned Alleyn. Much of the credit, though, must go to Michelle Guish for the wonderful supporting cast including: Judi Dench, Simon Callow, Imelda Staunton, Jim Carter, Martin Clunes and Geoffrey Rush, to name but a few.
John Madden directs hypnotically and constantly keeps the camera on the move but most credit for the film must go to Marc Norman and Tom Stoppard for their cunning and often self-parodying script. The only comment I would make is regarding the sheer number of theatre references. Those who have worked in the theatre will be aware of many, if not all, of the in-jokes that the film is littered with. Those who have not may be left with the feeling that they have been excluded from much of the content.
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