A female theatre dresser creates a stir and sparks a revolution in seventeenth century London theatre by playing Desedmona in Othello. But what will become of the male actor she once worked for and eventually replaced?
An aspiring author during the civil rights movement of the 1960s decides to write a book detailing the African-American maids' point of view on the white families for which they work, and the hardships they go through on a daily basis.
In 16th century Venice, when a merchant must default on a large loan from an abused Jewish moneylender for a friend with romantic ambitions, the bitterly vengeful creditor demands a gruesome payment instead.
Based in the 1660's of London's theaters, this film is about the rules of gender roles in theatre production, and means to change them for everyone's benefit. Ned Kynaston is the assumedly gay cross-dressing actor who has been playing female parts in plays for years, particularly Desdemona in Othello, he also has a close relationship with a member of the Royal Court, the Duke of Buckingham. One day however, the rules of only men playing women could change when aspiring actress Maria auditions as Kynaston's praised role, Desdemona, and soon enough, King Charles II decides to make the law that all female roles should be played only by women. Maria becomes a star, while Ned finds himself out of work. But after a while, Ned finds it in his nature to forgive Maria's aspiration, they may even fall in love, and Charles may proclaim women will be played by either gender. Written by
Although the movie starts out portraying the traditional Elizabethan style of acting on the stage (ie, stylized non-realistic acting), by the end of the movie, sequences on the stage are being performed in the style of realism (ie, what most people think of as modern acting), which was a style of acting not introduced until the 20th century. See more »
When Kynaston refers to his stage performance and says, "I blame you for my death," he looks up at Maria, but in the next shot his head is back down. See more »
King Charles II:
Why shouldn't we have women on stage? After all, the French have been doing it for years.
Sir Edward Hyde:
Whenever we're about to do something truly horrible, we always say that the French have been doing it for years.
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We sat for the first few minutes wondering whether we'd come to the right film (expecting a formulaic period romp). And for a little while I was prepared to spend the rest of the evening apologising to my partner for the slowness and oddness of the film. But once our disbelief had been suspended and we'd got used to the cramped feeling of the film (more like a staged version than cinematic at times), we both loved it.
I agree that Claire Danes acted well (though the hyperventilation happened once too often) and Billy Crudup brought a complexity to the role that I rarely see in films. The reference to Shakespeare in Love is an affectionate comparison: I enjoyed the light snack of Gwinny, luvvies and Fiennes and have sat through the DVD time and again. But that film had a predictability that Stage Beauty lacked. We didn't know that Stage Beauty's 'love element' would ever work out.
I do not see the development of the relationship between Danes and Crudup as a conversion from gay to straight. Instead I see a problematic progress from an imposed gender identity (perpetuated through sexual fantasy by Buckingham) to an un"knowing" but more satisfying state, where it's being yourself (whatever that is) not performing a role that counts. I think that this is relevant to all of us as we perform the roles that we and those who've influenced our upbringing have created for ourselves. We can't easily escape them (and some are more hammy than others in their performance) but the knowledge that life is performative and complex is, for me, liberating.
And all that from a costume drama!
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