Since today is January 5, the evening of which is traditionally known as “Twelfth Night,” I thought I would finally get around to watching Trevor Nunn’s 1996 film version of Shakespeare’s Twelfth Night. Yes, I know the film is almost thirty years old, but it’s one of those Shakespeare films that I just never happened to watch, even though I have always loved the play upon which it’s based. I happened to find it for free (with ads) on the Roku Channel, so there was no reason not to watch it!
The film starts out more like a drama than a comedy, with a very effective shipwreck sequence that is merely described in the play, rather than shown. But, as the opening credits begin, things quickly transform into the comedic style, as Viola makes her transformation into Cesario. (A haircut and a fake mustache are apparently all it takes.) Eventually, of course, hilarity ensues. Just a quick question, though: does anyone else think Imogen Stubbs’ Cesario disguise makes her look a bit like comedian David Spade? But I digress…
The cast is quite excellent, some of Britain’s most well-known actors:
- Imogen Stubbs as Viola
- Toby Stephens as Orsino
- Helena Bonham Carter as Olivia
- Steven Mackintosh as Sebastian
- Imelda Staunton as Maria
- Mel Smith as Sir Toby Belch
- Richard E. Grant as Sir Andrew Aguecheek
- Nigel Hawthorne as Malvolio
- Ben Kingsley as Feste
- Nicholas Farrell as Antonio
Just as I’ve always thought about the play, it’s hard to choose which plot line is more hilarious: the main plot of mistaken identity and gender-switching (which would have had an extra level of confusion in Shakespeare’s time), or the secondary plot about the pompous Malvolio. Mel Smith, Richard E. Grant, Imelda Staunton, and Ben Kingsley are so good as Sir Toby, Sir Andrew, Maria, and Feste, that I can’t help thinking (as I often do) that I actually enjoy the secondary plot a bit more than the primary one. Nigel Hawthorne’s portrayal of Malvolio is suitably arrogant, which adds to the enjoyment.
Still, the primary plot is quite entertaining. Imogen Stubbs is an excellent Viola/Cesario, and Helena Bonham Carter strikes just the right balance between seriousness and giddy girlishness as Olivia. And as I mentioned above, the gender-switching and mistaken identities in the main plot make it pretty hilarious…one of Shakespeare’s best comedies.
I was a little worried that Trevor Nunn would not be up to the task of directing a film, as his fame was made as a stage director at the Royal Shakespeare Company (not to mention directing Andrew Lloyd Webber’s Cats). But my impression of the film is that it works very well as a film, so no problems for this viewer in that regard. (I won’t pretend to be any sort of expert in the details of film directing, but I know what I like.)
Twelfth Night will always hold a special place in my heart, as it was one of the very first Shakespeare plays I ever read. I don’t know why it took me so long to watch this particular film version, but it was a great way to wrap up the 12 days of Christmastide. I’m glad I chose it today!
Willy Wigglestick 