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Twelfth Night, or What You Will (2003)

Multicultural version of the Shakespearean tale Twelth Night, Made in modern day society featuring Anglo-Indian cast.



(play), (teleplay) | 1 more credit »
2 nominations. See more awards »
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Cast overview, first billed only:
Burt Caesar ...
Andrew Kazamia ...
Claire Price ...
Maureen Beattie ...
David Troughton ...
Richard Bremner ...
Ewart James Walters ...
Faz Singhateh ...


Multicultural version of the Shakespearean tale Twelth Night, Made in modern day society featuring Anglo-Indian cast.

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Drama | Comedy | Romance





Release Date:

5 May 2003 (UK)  »

Also Known As:

Wieczór Trzech Króli  »

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Did You Know?


Version of BBC Sunday-Night Theatre: Twelfth Night (I) (1950) See more »

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User Reviews

For Those With an Open Mind and Open Heart
15 October 2005 | by (Cullowhee, N.C.) – See all my reviews

I find this an almost impeccable film version of this very subtle Shakespearean comedy, far transcending my former favorite, the 1996 film version by Trevor Nunn, which now pales in comparison. Shakespeare's TWELFTH NIGHT was probably written shortly after HAMLET, around 1601 or 1602, and thus embodies all the complexity of thought and feeling that dominated Shakespeare's greatest period of dramatic productivity. This is not COMEDY OF ERRORS or even MIDSUMMER NIGHT'S DREAM. This is a hilarious comedy tinged with darkness, with Shakespeare probably finally processing the death of his only son, Hamnet, in 1596. This film version of the play captures all that complexity. It is outrageously funny in its dark way, deeply thoughtful, and very powerful in its emotional resonance. This film elucidates characters, character relationships, and situations as no other production I have ever seen. Even the usually, nearly invisible Fabian becomes an important figure in the play. I am especially thrilled by the fresh line readings, many of which have opened new doors for me after nearly 40 years and dozens of experiences with this text. However, many people will be put off by this version's style, which is liberated and far from what people expect from Shakespeare. If one can open one's mind and heart to what is actually here and accept the film's style as a legitimate artistic choice, the appropriateness and power of the camera work and soundtrack become part of this film's strongest features. It is a version that can move those inexperienced with Shakespeare and those who know the text intimately.

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