A Duke usurps his brother's land and power, banishing him and his entourage into the forest of Arden. The banished Duke's daughter, Rosalind, remains with her cousin Celia. She has fallen ...
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A Duke usurps his brother's land and power, banishing him and his entourage into the forest of Arden. The banished Duke's daughter, Rosalind, remains with her cousin Celia. She has fallen in love with Orlando, but he has his own tyrannical brother with whom to contend, so he joins those in the forest. Rosalind, now banished, disguises herself as a young man, with Celia as her servant, and follows Orlando into the forest. There, nature stirs love's fires in various rustics as well as in those from the court. Phebe, a shepherdess loved by Silvius, is smitten with the disguised Rosalind. Can true love find a way, and can brothers be reconciled and harmony restored?Written by
The script omitted about one-third of the play, but added nothing on its own. See more »
And so, from hour to hour, we ripe and ripe, and then from hour to hour, we rot and rot; and thereby hangs a tale.
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Different prints have conflicting credits. For the 1936 U.S. version, Robert Cullen is credited (as R.J. Cullen) for production manager and scenario, but for the 1949 re-release, he is credited only as production manager, and 'Carl Mayer' is credited with adaptation. Similarly, for the 1936 version, Elisabeth Bergner's name is above the title for the opening credits, but in the 1949 re-release Laurence Olivier's name is above the title (as can be seen from the IMDb poster). See more »
Dressed as a boy, a banished noblewoman meets her equally unfortunate suitor in a forest and teases with his affections.
In AS YOU LIKE IT, a young, virile Sir Laurence Olivier leaps & cavorts his way through his first appearance in a Shakespearean feature film, his magnificent voice cajoling every line. To those viewers only aware of his late career before his 1989 death, an elderly lion enfeebled by terrible long-standing diseases, his athletic performance here will be a wonderful revelation. Although the plot requires him to behave blindly inane at times, fancifully wooing the boy who is actually his disguised ladylove, the future Lord Olivier is never anything less than compelling. Still nearly a decade away from the first of his own filmed Shakespearean productions - HENRY V (1945) - Sir Laurence here shows he is already a complete master of the Bard's verse.
As Rosalind, and earning top billing, Austrian actress Elisabeth Bergner more than holds her own against Olivier. Her strong Teutonic accent is at variance with everyone else in the cast and she probably would not have received the role had she not been married to the director/producer, but this in no way should disparage her skills as an actress. Fetching & lovely and with a thorough grasp of her lines, Miss Bergner is a constant delight to watch. The comedy keeps her in male costume most of the time and it is important to remember that she is not really supposed to be a convincing boy. Bowing to the plot's absurdities, she is to provide some laughs and moments of reflection at the expense of the other characters and this Miss Bergner accomplishes most handily.
A very fine collection of British character actors supply their ample talents to the proceedings. Sir Felix Aylmer is wonderfully wicked as the usurping Duke. John Laurie oozes evil as Olivier's murderous elder brother. Lovely Sophie Stewart provides playful fun as Miss Bergner's faithful cousin. Beefy Lionel Braham scores as a braggadocio wrestler. Mackenzie Ward is properly impertinent as Touchstone the Fool. Peter Bull is hilarious in his only scene as an idiotic youth. As in the play, the sardonic Jacques (well played by Leon Quartermaine) is given one of Shakespeare's loveliest soliloquies, the famous Seven Ages of Man speech.
The entire film is given a sumptuous production which is most pleasing to the eye. A glance down its credits reveals something of its fine pedigree: Sir James M. Barrie, author of Peter Pan, suggested the treatment - which meant he helped in the adaptation of Shakespeare's play to the screen; Sir David Lean, later to be a director of great importance, was responsible for the film's editing.
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