Hey, who hasn't been there? You do begin to wonder, though, after a few of these scenes have passedand after the second or third mention of Shakespeare's upcoming opus, Romeo and Ethel, the Pirate's Daughterif Norman and Stoppard will deliver to their sterling cast anything but one-liners and English major in-jokes. Besides the way-ahead-of-his-time psychiatrist, we are treated to Geoffrey Rush as the manager of the Rose, as put upon and financially terrified as Hollywood studio agents in the modern day a teasing/tense barroom encounter between Shakespeare and rival playwright Christopher Marlowe ( My Best Friend's Wedding's Rupert Everett) and the image of the West's undisputedly greatest playwright unable to scrawl anything on his vellum sheets but his signature, over and over. One cannot deny that Shakespeare in Loveco-written by Marc Norman and Rosencrantz and Guildenstern are Dead author Tom Stoppardis a witty piece of work the puns and cannily contemporary jokes are enough to keep the exposition moving, even if it does feel a little self-consciously heady for the first stretch.
The start of the picture is fresh and buoyant, though it must be said of the first twenty or thirty minutes that the script is a tad more focused on trotting out its clever jabs than with plunging (see how easy that is?) into the story's romantic center. The script's later revelationthat this lasciviousness was itself a put-on, a mode of speaking and acting that clothed delicate and unironically robust emotionis equally true of the historical Shakespeare, and more importantly, provides the foundation for a rich and involving romantic comedy. By inserting him as a character in a frothy romantic comedy, the filmmakers also rescue Shakespeare from Masterpiece Theatre dehydration and remind us all that beneath it all, the poet of Avon was one dirty dog. A great pleasure of this script is its ceaseless attention to Shakespearean turns of phrase and its loving revival of his own bawdy humor. Also, he speaks of a "broken quill" and a "dry organ," and we in the audience titter at realizing (or remembering, depending on your familiarity with the Bard) that Shakespeare was all over this stuff centuries before Freud was a glimmer in his mother's id. Clue #1 to his troubles is that "will" in the Renaissance actually meant "sexual urges," just in the way we take it to mean "intention" or "conviction" right off the bat, then, you know the guy is one lusty but pent-up tamale. Of course, this is Shakespeare here, so he can't just come out and say that. Brown stars making a sly cameo here), that he believes his writer's block to stem from the frustrations of having had no sexual escapades for quite some time. Will confides to his "apothecary" psychiatrist, Dr. A young upstart playwright named Will Shakespeare (Joseph Fiennes) is having a rotten time pouring his poetic thoughts on to paper. Brown is as lively and engaging a comedy as one could want from the inspired material, a love story set in and around the Rose Theatre. I fully understand their effusion John Madden's first film after the stately but exceptionally closed-off Mrs. "What fools these mortals be," says Puck in A Midsummer Night's Dream, and indeed the world seems to be going a little foolish for Shakespeare in Love. Screenplay: Marc Norman and Tom Stoppard. Cast: Joseph Fiennes, Gwyneth Paltrow, Geoffrey Rush, Judi Dench, Colin Firth, Ben Affleck, Tom Wilkinson, Jim Carter, Simon Callow, Imelda Staunton, Rupert Everett, Antony Sher, Martin Clunes.
The Thin Red Line is one of the best movies the Academy ever nominatedĭirector: John Madden. January 1999, at the Sony Harvard Square in Cambridge, MA
0 kommentar(er)
