Twelfth Night Reviews

• One of the best Shakespearean comedies done for film

  
  By A31UE0LJBKCHUA on 2003-06-06
  Trevor Nunn's Twelfth Night sits up on the same pedestal as Branagh's Much Ado About Nothing. Not a suprise, either, given that both films came out of Branagh's Renaissance Films. Reset in the Victorian era, Nunn maintains the delicate balance of comedy and drama (much like Much Ado), carried out in one amazing cast. Nunn does a wonderful job of keeping most of Shakespeare's comedy in-tact, editing only when neccessary to appease a film audience (most noticeable in Viola's famous "I left no ring with her" monologue being broken up throughout the film).

  No member disappoints and each one excels in their own right. Helena Bonham Carter, queen of period films, plays an astounding Olivia with excellent timing. Imogen Stubbs, whom I've only seen play a small role in Sense and Sensibility, exceeds all expectations set for her in the role of Viola. And Ben Kingsley (yes, Ghandi), reminds us of his Royal Shakespeare Company roots as a multi-dimensional Feste.

  The score, unhappily available on CD (albeit Kingley's "The Wind and the Rain" is available on the CD collection "If Music Be the Food of Love: Shakespeare at the Movies"), is breathtaking and well-done, particularly for a play that includes so much music as a stage performance. It corrolates perfectly with the lush settings (often involving romantic sea-scapes and Victorian manor houses) and costumes.

  Perhaps the biggest disappointment about this film is that it's not available on DVD. However, it alone is reason enough for me to keep my VCR.
  
  

• Brilliant Cast and Direction Shed New Light on Shakespeare

  
  By on 1998-11-22
  Trevor Nunn's adaptation of "Twelfth Night" is a masterpiece of insight and nuance. Instead of simply playing up the obvious slapstick of this gender-bending comedy of mistaken identity, Nunn highlights the dark undertones of the plot which yield surprising depth and poignancy. Those familiar with the play will notice some alterations in the original text, but those who are new to Shakespeare will thank Mr. Nunn for making the story easier to follow and a pleasure to behold. For example, when Duke Orsino (Toby Stephens) utters the famous opening line of the play, "If music be the food of love, play on," ten minutes have already elapsed. But what takes place in those ten minutes sets up the plot beautifully and brings the characters to life.

  The story centers around two twins, Viola (Imogen Stubbs in a star-making performance) and Sebastian (Stephen Makintosh), who are shipwrecked and separated at sea, each fearing the other is dead. Viola washes up on the shore of a hostile country and disguises herself in her brother's clothes to avoid capture and keep his memory alive. The other two main characters, Olivia (Helena Bonham Carter), and Orsino (Toby Stephens), are similarly troubled. Olivia mourns her own brother's recent death and Orsino suffers passionate unrequited love for Olivia, who refuses to see him.

  Viola's male alter ego, Cesario, winds up in Orsino's court, becomes his best friend, and (here's the rub) romantic emissary to Olivia. What follows is a hilarious and poignant farce in which Olivia falls in love with Orsino's messenger, Cesario (Viola) who, under her disguise, is desperately in love with Orsino. Meanwhile, mischievous members of Olivia's household trick her arrogant butler, Malvolio (a brilliant Nigel Hawthorne), into believing that Olivia loves him, and another jealous suitor, the hapless Sir Andrew Agucheek (Nigel Grant), challenges Cesario to a duel. Through it all, the wry fool, Feste (Ben Kingsley), penetrates the confusion with a dry wit, a calming presence, and a surprisingly good singing voice(!). When Sebastian, a "dead ringer" for Cesario (Viola), finally arrives on the scene, the confusion rises to a fever pitch that only Shakespeare could unravel.

  Trevor Nunn has assembled a brilliant cast led by the astonishingly versatile Imogen Stubbs. As Viola/Cesario, Stubbs gives a richly nuanced performance which ranges from deep pathos to antic comedy. It's a shame that this intelligent, multi-faceted actress (who previously appeared in "Sense and Sensibility") doesn't get top billing for the film. This is not to say that the actress who does, Helena Bonham Carter, isn't fabulous in her own right. Ms. Carter displays prodigious comic talents in "Twelfth Night" and surely has the most expressive eyebrows in cinema. Her reaction to Sebastian's arrival is itself almost worth the price of admission. Ben Kingsley infuses the role of Feste with great humanity and warmth, and Toby Stephens is a handsome, noble Orsino. The cinematography is beautiful and Shaun Davey's musical score is a delight. In a play where Shakespeare included so many songs, Davey contributes music that fits perfectly with the Victorian setting of Nunn's adaptation. The way in which Nunn uses Feste's final song to tie up the loose ends of the plot is but one of the many little touches that make this "Twelfth Night" a joy to watch again and again.
  
  

• Present mirth hath present laughter.......

  
  By A2GDEPPC8BAZRY on 2000-07-08
  How wonderful that I should happen upon this movie one early summer evening not so very long ago - and that it should brighten the wettest, most overcast June immemorial!

  Director Trevor Nunn set this Shakespeare play in the Victorian era, and his adaptation is overflowing with talent - Imogen Stubbs (Viola) shows herself to be a versatile actress who can brilliantly play this complex lead with ease! Also notable were Nigel Hawthorne (Malvolio), Toby Stephens (Orsino), Helena Bonham Carter (wonderful as Olivia, although I'd expected it as I've never seen her performances as anything less), Richard E. Grant (Sir Andrew Aguecheek), and Imelda Staunten (Maria) -- and Ben Kingsley (the fool, Feste) did such a magnificent job - and, incidently, he sings superbly - he would easily have stolen the show if it weren't for the flawless performances of the entire cast!

  I had to give it four stars instead of five because it was very hard to follow what was being spoken much of the time. I actually had to pull out my "Riverside Shakespeare" to follow what was being said. Much of this movie is verbatim directly from the play itself - which I must say endears it further into my heart.

  In the midst of a summer where, at least here in my little realm of the earth, it "raineth every day," a movie such as this eases the doldrums. This movie is a delight!
  
  

• Laughter, Tears, and the Rain, it Raineth Every Day!

  
  By A2BDZAU0Y4J6NB on 2005-10-06
  If this "Twelfth Night" is not the definitive "Twelfth Night," it comes close. Under the guidance of director Trevor Nunn, the superb cast plays Shakespeare not only for laughs but also for the dark pathos that underlies the comedy, as is evident in Feste's song, "Come away, come away death, and in sad cypress let me be laid." Ben Kingsley portrays Shakespeare's enigmatic clown, whose rendition of the charming, but usually conventional, "O mistress mine, where are you roaming?," is tinged with a tragic undertone. It not only complements the love-sick Duke Orsino's lament, "If music be the food of love, play on," but, as its last strains linger in the air, it suffuses its listeners with an inexpressible sadness. It is as if, with the final notes, the hitherto roistering Maria, Sir Toby, and Sir Andrew, have become painfully aware of the ephemeral nature of life.
  
  Imogen Stubbs is a delightful (and plausibly male) Viola, disguised as Cesario, who must act as a go-between for Orsino (an incredibly handsome Toby Stephens) and Olivia (Helena Bonham-Carter, who looks as if she has stepped out of a pre-Raphaelite painting). The scenes between Viola and Orsino, as she is falling in love with him and he is most definitely attracted to his young "man" and emissary, are fraught with a palpable sexual tension (A similar dynamic may well have been present in the original production when the audience knew that a boy was playing the part of a girl playing the part of a boy. Trevor Nunn conveys the ambiguity of gender with subtle artistry). Viola and her twin brother Sebastian look reasonably enough alike so that the audience can easily suspend its disbelief and, along with the characters, enjoy the confusion of "Which one is Sebastian?."
  
  The production is reinforced by an ensemble cast. Nigel Hawthorne's pompous yet vulnerable Malvolio has the viewer laughing at one moment and crying at the next. The cruel pranks of Maria (Imelda Staunton), Sir Toby Belch (Mel Smith), Sir Andrew Aguecheek (Richard E. Grant) and Feste, the clown, bring Malvolio deservedly low, but as he leaves the household and his tormenters forever, the audience knows that the comic conspirators may have humiliated him, but they have not robbed him of his dignity. Malvolio's exit is followed by the departure of the brooding Feste, who, "with a hey, ho, and the wind and the rain," strolls along the edge of a cliff above the shore. As he gazes out over the restless sea, he seems to be seeing beyond the play's comic narrative frame into the reality of a future that is ineffably dark.
  
  Nunn's "Twelfth Night" is fast-moving and suspenseful, even if one has seen the play dozens of times. There are so many delightful moments that it is difficult to single one out, but the duel in the orchard between the terrified Viola and the equally frantic Sir Andrew is hysterically funny. The Cornish settings make for a stunning "Illyria." And since the audience is readily transported to that fantastic country, the pre-Raphaelite / Ruritanian costumes and settings do not spoil the illusion.
  
  
  

• An Amazing Adaptation

  
  By A29DMJN9ZNHKRR on 2005-10-10
  I was thrilled to recieve my copy of Twelfth Night after over a year of waiting for it to come out in America on DVD. The film itself is wonderfully shot and sports a talented and knowlegable cast. Imogen Stubbs, who I had only seen previously in Sense and Sensiblity, as Viola seems made for the role. You can truly believe that Olivia, played by the always "on" Helena Bonham Carter, would fall in love with her. Toby Stephens is a revelation as Orsino. He managed to make Orsino very noble and sexy while most actors tend to play him a little too whiney for my taste. It was a bit of a shock to see Ben Kingsley playing the Fool but I fell in love with him with in 10 minutes. All in all this film has taken the title of favorite in my home. I watch it every time I can and always find something new to enjoy. The DVD is seriously lacking in any extras. The "behind the scenes" feature is literally just that. Someone set up a camara about 100 yard from the set and left it there. No voice over or editing. Very disappointing. But one can expect such things from a movie that was not made in the DVD era. GO OUT AND BUY IT.
  
  
• Twelfth Night deserves one star per night!
  By A2ELT9NS0Q8W9L on 2003-04-07
  This is one of the most imaginative interpretations of Shakespeare (or perhaps anything) I've ever seen. Although I have read the play numerous times, I never would have thought of doing it this way. The story was fleshed out even more than Shakespeare did to begin with, and was made to seem modern and old-fashioned all at the same time. Director Trevor Nunn did a wonderful job with this film (but of course he also formed the Royal Shakespeare Company, so what else would one expect?) :-)

  Although each member of the cast does a great job, a few must be mentioned individually. Imogen Stubbs proves to have an amazing amount of talent and versatility in the complicated role of Viola/Cesario. Nigel Hawthorne is terrific as Malvolio, particularly in one hilarious moment where he tries to smile - something at which he is not too practised. Helena Bonham Carter makes a very appealing Olivia. Ben Kingsley is absolutely wonderful, and extremely expressive, as Feste the fool.

  TWELFTH NIGHT is a film that is definitely worth watching over and over.
  
  

• Breathtaking
  By A2HKRNELD7DGX1 on 2005-11-09
  There have been many great Shakespeare drama adaptations, but Trevor Nunn's Twelfth Night is outstanding even among the greatest. It is wonderful how sensitively and excitingly he handles the issue of identity (girl disguising herself as a boy) and identification (male-female twins)problems.
  
  The major character is Viola, who after losing her twin brother (played by Stephen Mackintosh very convincingly), is forced to disguise herself as a boy to survive in a strange and hostile land (namely Illyria which is at war with her home county, Messaline). The introductory scenes (not included in the drama) showing how brother and sister, sharing a strong bond of affection, lose each other, how dangerous it is for a citizen of Messaline to set foot in Illiyra and how Viola is transformed into a boy give the story a very good frame. The scenes where Viola is being transformed are great, showing how sensitive this girl is, how difficult it is for her to pretend, yet she musters all her courage to hide her pain over the supposed death of her brother. But struggles are not over as she also has to hide her passionate love from Orsino, the Duke of Illyira whom she serves.
  
  Her position is twofold difficult: she soon becomes Orsino's confident, they get really close to each other so she finds more and more difficult to hide her feelings from him; but to ease Orsino's sufferings, she undertakes to act as a "courier" for pursuing his hopeless love, the Countess Olivia.
  Then comes another Shakespearean turn of the screw: Olivia, who won't hear of Orsino's passion, falls for Cesario/Viola. In the meantime, Sebastian, thinking her beloved sister, Viola is dead, sets for Illyria as well ...
  
  As it is a comedy all things messed up will sort themselves out at the end, however, this is not a light comedy, the shadow of the tragic is hovering over the whole drama shaped in one of the subplots. The whole film seems to balance at the very narrow edge of tragedy and comedy all the time despite the many hilarious moments.
  
  The most wonderful scenes are the ones of Cesario/Viola and the Duke Orsino (a very sexy Toby Stephens)being together. Nunn is actually showing the emotional and subtle sexual attraction the Duke feels for his "manservant". Absolutely brilliant!
  Imogen Stubbs personificates Viola superbly: an upright woman, who, despite the disguise she is forced to wear, is the most honest of all, especially compared to the characters of Orsino and Oliva, both of whom are deluding themselves by imaginary feelings.
  
  The whole cast is wonderful from Helena Bonham-Carter to Ben Kingsley. Music and costume all fit in amazingly with the whole atmosphere of the drama.
  
  
  
• Thank god for fast-forward buttons
  By A31TFHKM8LLJVR on 1999-12-16
  As a near-conisseur of video adaptations of Shakespeare, I anticipated this rendition of Twelfth Night with some degree of excitement. I was honestly surprised when I found myself sitting impatiently, waiting desperately for something funny to happen. It got almost to the point that I would laugh at anything, in hopes that the movie -- encouraged by my support -- would come out of its shell.

  Now, don't get me wrong -- the movie is well-acted and well-staged. It's just exceptionally slow to start off. Unfortunately, the tediousness of the first hour or so was made worse by the sound quality. Shakespeare is difficult enough to grasp, but abnormally quiet speaking voices make it downright unintelligible. I have watched the film at least half-a-dozen times and still many of the lines elude me.

  But the last hour of the film makes sitting through the first half well-worth it. It's very difficult to prevent yourself from perching on the edge of your seat as Viola and her brother change places at a dizzying rate -- often missing each other by mere seconds. This is when the laughter -- long overdue -- is finally permitted to bubble forth.

  Granted, this film does not hold with the same laugh-a-minute style of other plays-turned-films, such as Much Ado About Nothing. But it is a worthwhile experience, especially on a rainy afternoon when a cup of tea and a charming film are what's called for.
  
  

• Midsummer Madness tinged with Green and Yellow Melancholy
  By A2ST44U2OME7SD on 2002-11-30
  This film is definitely among the finest adaptations of Shakespeare to film ever made. The Bard's characters are revealed, enhanced, fleshed out by their surroundings and judicious editing.

  One of the major themes, the nature of identity and gender identity in particular, is brought out vividly by the Victorian time period; We see that it's no small matter for Viola to shed her feminine clothes and training to act like a man, or for Olivia to be the head of her household. Imogen Stubbs is real and endearing as we see her as Viola/Cesario, concealing so much of her self to so many.

  Trevor Nunn's directing is superb, especially when he intercuts between the original scenes to compare Orsino and Cesario here, Maria, Sir Toby and Aguecheek there. Putting the two parts up against one another tells us a lot about what the Bard had to say about our own inner conflicts, and how much of those is healthy to share with the world. Purists may argue that the orginal order is monkeyed with. Myself, I've often thought that Shakespeare himself would have presented it much the same way if he'd had the benefit of film and editing.

  The film's a visual treat too - both lush and stark landscapes, Olivia's estate a wonderland autumn setting.

  My only bone to pick with the production is that it still is not released on Region 1 DVD. My videotape is wearing out from use.

  An absolute must see.
  
  

• The most exquisite film rendition of Shakespeare ever
  By A2IA5GH3IX577L on 2004-04-27
  The wonderful review by "theviciouscircle" says almost all: this is a rare and beautiful filming of one of Shakespeare's most engaging comedies. Every role is played to perfection -- the entire production shows the cast's and crew's intelligence, deftness, sense of play and extraordinary craft. Every single actor has so embodied his or her part that I will never again see the play without seeing this cast in my mind's eye. Ben Kingsley and Imogen Stubbs stand out even in this exceptional group. The music fits every mood in the play; Shakespeare simply must have heard these tunes when he wrote the verses, and the themes and backgrounds further carry us into the spirit of the play.
  The Cornish settings in autumn are almost too beautiful; at times, one almost misses the acting, so spellbinding is the countryside in which it takes place. Trevor Nunn and his crew are much to be praised for finding locales that hold the story so gracefully -- we may know this is Cornwall, but we believe we are transported to Illyria. All in all, it is difficult to imagine a more exquisite realization of a robust yet delicate play. I have long waited to see this film on DVD, and in the widescreen format in which it was made -- how can the studio not release it?
  
  
• A classic adaptation
  By A1COLSH5F56V8Z on 2007-02-14
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  Acclaimed director Trevor Nunn's film is a classic adaptation of the third of Shakespeare's mature comedies (the others being Much Ado and As You Like It). Twelfth Night is the darkest of these three plays, beginning with Orsino's famous opening soliloquy and continuing its conflicted heroines, the cross-dressing Viola (Imogen Stubbs) and the moody Olivia (Helena Bonham Carter), both of whom are mourning lost brothers. The puritan steward, Malvolio--played masterfully by Nigel Hawthorne, whose appearance recalls famous Malvolios from play posters of bygone eras--is seething with sexual frustration, revealed only when tricked into it via a letter supposedly written by Olivia, yet penned by the tricky servant, Maria (Imelda Staunton). Maria's plotline is wonderfully augmented in this film by the clowns, Sir Toby Belch (Mel Smith), Sir Andrew Aguecheek (Richard E. Grant), and Feste (Ben Kingsley).
  
  Nunn's adaptation is distinctive in three ways:
  
  1. his realignment of scenes to emphasize similarities in seemingly disparate circumstances (e.g. the theme of madness, wherein Viola's lost brother Sebastian (Steven MacIntosh) wonders if he is mad even as Malvolio has a nervous breakdown in the dark room). The cuts he makes in the original text are equally appropriate to the change of medium: the story is essentially intact, with an opening non-Shakespearean twist that emphasizes shipwreck as the originating event.
  
  2. Ben Kingsley's emphasis on the revenge motivating Feste--the fact that this seemingly merry fool has a thin skin when Malvolio upbraids him, and lords it over the broken steward at the end of the play. Though this darker interpretation of Malvolio is not the usual happy-go-lucky goof seen too often on North American stages, the text itself does warrant this way of seeing him, and it gives the character much more complexity.
  
  3. The homoerotic attraction between Duke Orsino (Toby Stevens) and Cesario (Viola in disguise)--again, warranted by the text itself--is more fully developed than in many productions, and again, it increases the complexity of Orsino's character even as it emphasizes Viola's intense desire for him even as she is unable to break out of the identity she has created for herself in Orsino's court.
  
  Beyond all this, the film is lush in its use of color, its landscapes and interiors--a delight to anyone who understands and appreciates the complexities of Shakespeare's characters. One only wishes Nunn would continue making films of this sort. I'm waiting for a good adaptation of The Tempest!
  
  
• Fabulous!
  By A2RB67N8XJ52QB on 2004-05-20
  My theater class and I saw this after I finished reading the play TWELFTH NIGHT, and I must say, it kept to the script really well. But the depth that it had was great- when I read the play, it was kind of like 'Hmmm... okay, this is cool, love triangles!' And then it skipped to the servant scenes and I started racing through those to get to the, I supposed, 'better' action taking place with the twins.

  But the servants have some of the best character representation out of the movie, especially Ben Kingsley as Feste and Malvolio- they rocked. And the main cast was perfect, as well.

  All in all, probably the best re-doing of a Shakespeare play that I have ever seen... I loved it!

  Oh- and how can anybody help but love the music to this movie? Kingsley's voice is magnificent, and makes you finish the thing wanting more. (My theater teacher is a performer at heart, and after our class finished it, he memorized the closing song- The Wind and the Rain- and that's practically all he sings nowadays... and what's worse, he has our English teacher doing it, too. :)

  But watch this, seriously. If you're skeptical about understanding a Shakespearean drama, have no fear. Everything's really easy to understand, and it follows the script almost word for word.
  
  

• I couldn't stop laughing!
  By ADOSOJ9HJAHDU on 1999-12-17
  Twelfth Night has always been a confusing play for me to read; although it is a very entertaining comedy, I could never keep the characters and their agendas straight. This film expelled my confusion immediately. I was thoroughly entertained by the hijinks of the servants, and more than a little on the edge of my seat for poor Viola. The best part is at the end when all issues are resolved, but in between that is a great story about mistaken identity, gender bending, and the ability to love the right people at the wrong times. Very sweet and charming, and easy to follow along.
  
  
• Where is the DVD? Answer - FINALLY available
  By AWDFOM2D4PTZD on 2001-09-12
  Finally NINE YEARS after its theatrical release, this great movie is available on DVD in the US!
  
  This movie was really good. I cannot think of a poor
  performance. Helena Bonham Carter - what can I say?
  I didn't know she was so good. Olivia is a difficult
  part with the character having to leave behind her mourning
  and in some sense come back into "the real world". She
  succeeds admirably. Plus, boy can she speak the verse or what?
  
  Imogen Stubbs - is now my idea of a perfect Viola. Oh my
  goodness, yes. I just want her performance to never end.
  
  Ben Kigsley - this is the first time I have seen the warmth
  of the relationship between Feste and Olivia. It is very
  touching - until Viola's arrival, you can understand he must
  have been Olivia's only true friend. Plus though he is indeed
  supremely manipulative in the plot against Malvolio, this
  movie does not pit him center stage as some kind of sinister
  Macheavellian controller of everything as many productions tend
  to do. That always strikes me as a false way to play him.
  
  Nigel Hawthorne as Malvolio. Does he put a foot wrong? I don't
  think so.
  
  Mel Smith and Richard E Grant as Sir Toby and Sir Andrew? I see
  some negative reviews here about Mel Smith criticizing him as
  playing Sir Toby as a drunk. Hello? Is there anybody in there?
  If anyone was made to play Sir Toby it is Mel Smith. He makes
  me laugh in the duel scene with just his facial expression when
  he says "They say he has been fencer to the Shah of Persia".
  Heck I am smiling now as I write this.
  
  This movie looks good and sounds good. It has sadness and it
  is a little bleak at times, but that makes the comedy and
  happy scenes all the funnier and all the sweeter.
  
  I stongly recommend this movie.
  
  
• Never Send a Boy to Do a Man's Job,Especially if He's a Girl
  By A3BI72LIJWFIQ0 on 2002-03-13
  William Shakespeare's romantic comedy was well set in a 17th century English style background. The story is played out in the "appearing to be" British country side and hosts a cast of well renowned stars.
  
  When two devoted twins, Viola (Imogen Stubbs) and her brother Sebastian (Steven Mackintosh), are separated in a violent storm at sea, Viola, believing her brother to be drown, convinces the captain that saved her life to help her dress as a man and get a job with a local count. The two succeed in passing her off as a handsome young lad and Count Orsino (Toby Stephens) immediately takes her on as a personal companion and servant. Viola watches as the young and handsome Count pines for the Countess Olivia (Helen Bonham Carter) who will have nothing to do with him or his love pursuits as she determines to remain in grieving her dead brother. Tired of his suits being rejected, Orsino sends Viola, known to all as Sesario, to pay court to Olivia. Viola goes reluctantly, but does a better job at wooing that she suspects. Unfortunately, Olivia does not give into the love of Orsino, but rather falls head over heals in love with Viola, who finds her self desperately in love with Orsino. Another problem in the works is that Orsino is not the only man in love with Olivia. Her servant Malvolio (Nigel Hawthorne) and her cousin Sir Toby Belch's (Mel Smith) ward Sir Andrew Aguecheck (Richard E. Grant) are also vying for Olivia's affections while she has eyes for none save Viola, whom she thinks is a man. What a mess! Who will end up with whom in the end?
  
  Masterfully produced in the 17th century era with true Shakespearean English, this movie is quite enjoyable with both romance and comedy. Also among the star-studded cast is Ben Kingsly who portrays the wise fool Feste who fills the movie with extra humor, witty advice, and lovely song. It is quite enjoyable and is one of my favorite movies. It is right up there with Much Ado About Nothing.
  
  
• Beautiful to watch; a Shakespearean treat
  By A24I3BMB9JZC7O on 2006-03-12
  This is in many ways a terrific film adaptation of Shakespear's "Twelfth Night". The casting is superb - Helena Bonham-Carter is exquisite as Olivia, Imelda Staunton is nothing less than superb as Viola-playing-Cesario, and the Duke is played as a suitably self-dramatising and lachrymose young man with excellent qualities underneath all of that. The fool is interestingly played by Ben Kingsley - I must say, I'd expected more the traditional sort of Fool, but Mr Kingsley plays it almost straight. Such is his brilliant talent that he gets away with it.
  
  The other parts - Viola's twin Sebastian, the grave and conceited Malvolio (a lovely performance by Nigel Hawthorne), a not-very-bright Sir Andrew Aguecheek and a riotous Sir Toby - are extremely well played. Everyone looks wonderful - the settings are magnificent - the costumes work very well.
  
  There are two reasons why I do not give this DVD 5 stars. Firstly, I thought the midnight revels as instigated by Sir Toby were a little over the top, what with smashing glasses and bawling out songs at top voice in the middle of the night. And secondly, there was a tad too much chopping of lines. This was particularly noticeable in what was originally the scene where Aguecheek and Sebastian engage to Aguecheek's detriment. It just seemed too bitsy...
  
  ... but there's no denying this is fun to watch, and that the performances are excellent. I recommend it in spite of the few drawbacks.
  
  
• Wonderful Adaptation
  By on 2001-01-14
  Twelfth Night is one of Shatespeare's most enjoyable comedies. This movie does it justice. While it takes some liberties to make it work in the medium of film (for example it does not start with Duke Orsino's famous line, "If music be the food of love, play on" but it is preserved in an appropriate way in the movie). It is set in 19th century Cornwall, and it is entirely believable. The smaller parts are marvellously cast, Mel Smith as Sir Toby Belch is wonderful, and Ben Kingsley as Feste (the Fool) is superb. I've watched it a dozen times, and I still want more.
  
  
• For a 16th Birthday, the best gift of them all.
  By A2MZUVD0UE4PZU on 2002-04-13
  I had borrowed the book "Twelfth Night" from my school's library. I am in 10th grade and I go to Sequoyah High School in Georgia. I must say, at first I really just got it because it gave a review in my Lit book when we were reading Julius Caesar, and it looked interesting. However, once I had read the book, I fell in love with the characters. I couldn't wait to read it again, which I did, a few times actually.I was 15 at the time, and once I heard there was a MOVIE of the book, I begged and pleaded until my father finally rented it from Blockbuster. While watching it, I thought I was in heaven...it was wonderful! It followed the book so well, barely changing a thing! It did take out a funny joke, about caper and mutton, but I could overlook that little thing. Anywho, once my birthday rolled along, I just had to get it...and my dear uncle actually bought it! I was so happy, it being by far the best gift I had gotten...aside from the car.I give this movie 5 stars, even if I haven't had as much experience in reviews, I know it deserves it. I love all Shakespeare's plays, but this one takes the cake.
  
  
• Hey ho, the wind and the rain...
  By AGRR05FH945HR on 2006-05-07
  Ben Kingsley's inspired performance as Feste is just one of the highlights in this simply stunning interpretation of Twelfth Night.
  
  I totally concur with the other reviewers who have rated this so highly, along with Ken B's gorgeous Much Ado, for example. I bought this based on the cast alone, but to be honest, it even exceeded my expectations.
  
  Just as Shakespeare played around with gender/androgyny in As You Like It, in which Rosalind cross-dressed in order to gain information etc. he excels in Twelfth Night by also adding twins into the mix - he was the father of twins, himself.
  
  I really cannot recommend this delightful and hilarious production highly enough.
  
  My tale is told...
  
  
• Ooh, so hot but you're breakin' my heart!
  By A39PVIL6LF818Y on 2007-02-19
  "Twelfth Night" may be one of Shakespeare's lesser known plays but this production really hit it with my entire family - even my two sons, ages 15 and 11, loved it! The trailer/teaser for the movie played up the gender-bender aspects of the plot but don't be misled - there's nothing gay about this movie. "Twelfth Night" is all about mistaken identity, wistful and fruitless love, and runaway egos. All's well that ends well, and all does. Ben Kingsley as Feste is my favorite character, and his song at the movie's close really wraps things up well. He, Helena Bonham-Carter, and Nigel Hawthorne are the best known members of what proved to be a very good cast. So, why not 5 stars??? I am profoundly deaf. The first time I saw this movie, it was on VHS with poor-to-average closed captioning. I so looked forward to seeing it on DVD. The DVD version that I purchased is NOT CLOSED CAPTIONED! What's with that! Just copy the text from Shakespeare's play and add it to the DVD! I simply cannot believe that this is happening in the 21st Century. I now HATE this product and feel quite slighted by the people responsible for making it available to the public.
  
  
• Twelfth Night Great Movie
  By A1F12ZFB3LP2JB on 2000-05-02
  I have read the play and this movie does cut out stuff and switches a few scenes around but who cares? This movie was hilarious. It is about a brother (Sebastian) and a sister (Viola) (twins who look exaclty alike) who get separated for the first time in their lives, when the ship they are traveling on wrecks. Viola (who believes her brother to be dead) dresses as a boy and gets a job as a page (under the name of Cesario) for the noble Duke Orsino with whom she falls in love. Unfortunatly the Duke is in love with the Countess Olivia who is in mourning for her brother and father who had recently died and refuses to hear him. The Duke sends Viola to tell Olivia of his love, which she does so well that Olivia falls in love with the supposed Cesario instead of the Duke. The plot thickens when Viola's brother (who had not died) shows up and indetity mistakes start happening like mad. Ben Kingsley (who played the fool Feste) was great, he was funny yet mysterious and Oliva was hilarious all of her facial expressions were so funny, the way her eye brows move and especialy the faces she makes towards the end. Imogen Stubbs was great as Viola she was so funny. I hated her in "Sense and Sensibility" but she was great in this. All of the actors played their parts wonderfuly. This movie is easy to follow and moves at a fast pace (at least I thought so). The music is fantastic.
  
  
• For those who find KING LEAR too cheerful
  By on 2000-02-06
  This dismal film conveys scarcely any hint that the play on which it is based is a comedy. Many of the jokes are gone, and the survivors are damped down--if you are not already familiar with the play, you will not realize that they ARE jokes. Moreover, the play's theme--which may, with extreme succinctness, be expressed as "you have to keep on enjoying life, even if bad things happen"--has been replaced by one of "remember, you must die." The atmosphere is solemn, with death and decay omnipresent. In brief, this is TWELFTH NIGHT as interpreted by Malvolio. You may be tempted to watch it anyway, because of the many fine actors in the cast, but their efforts are suffocated in the general gloom.
  
  
• Poor quality DVD
  By A2NQ3UYXP64692 on 2006-02-04
  It is like a plane video tape - no caption, no scene selection, no special feature, etc. Greatly disappointed.
  
  
• Words, words, words! I want to hear every one!
  By A1K0XD8IOT15N7 on 2006-09-14
  I have no reservations about the performances or the cinematography; only about the audio engineering: in Shakespeare where every word is cherished they must all be clearly audible, but this DVD is the only application where I have ever had to use full volume on my TV set, and that was still barely enough, and that is why I have deducted two stars! Roger McCutcheon.
  
  
• A most delightful film - Don't miss it!
  By on 1999-03-05
  Having seen Trever Nunn's adaptation of "Twelfth Night" with Imogen Stubbs as the beloved Viola/Cesario, I don't think I will ever be satisfied with any other versions of the play, on stage or on screen.

  I went to see "Twelfth Night" without having read the Bard's play. Although I wasn't able to catch every word or grasp every nuance, I understood enough to know that I was watching something marvelous. I saw "Twelfth Night" again a week later, and this time having read the play and other background information, my enjoyment of and admiration for the film were even greater.

  Much has been said by the other viewers/reviewers about the brilliant direction and delightful cast (Imogen Stubbs, in particular, deserves special recognition), and I concur with every one of them wholeheartedly. "Twelfth Night" might not have garnered the recognition it deserved during its theatrical release, but I hope very much that it will have a long and productive life on video, entertaining viewers with a most wonderful, accessible adaptation of one of the Bard's most beloved play.
  
  

• A delight!
  By A2EUR74UXH5PQW on 2000-12-05
  I happened across this movie one day as I was watching TV, and stopped really because I kept thinking, "That boy really looks like a girl!" Well... I was right and I discovered a movie that I still love after many viewings. Granted, like most Shakespeare epics, most viewers (notably ones not familiar with the story) may get confused with the story early on. However, I've seen a staged version of Twelfth Night, and I would have to argue that this is much clearer and easier to understand than many. The movie is worth the early confusion. The characters, the language, the beautiful scenery, the music, and the humor all make this movie one you must experience. In fact, watch Twelfth Night several times to fully appreciate the subtle nuances that make this a delightful movie!
  
  
• Shakespeare is fun
  By A2SC9TKZ0CM4NN on 2005-01-08
  Reading Shakespeare is different than seeing Shakespeare and this movie makes things fun. It's a wonderful movie with a great cast that captures the humor and wit of Shakespeare's play. Imogen Stubbs is fantastic. It's really too bad this is not out on DVD.
  
  
• Shakespeare at His Comic Best
  By on 2000-03-31
  As one who minored in English and got an A is Shakespeare, I have made it a point to attend as many of the comedies wherever performed for many years, including at the Folger in Washington. But this is my all-time favorite film. As often as I have watched it, it always gets better each time.

  Unfortunately, the intimacy of a Hollywood staging strains the credibility Viola's impersonation of a boy (since in Elizabethan theater all female parts were played by boys), but every major character is well cast, and the authentic British acting is superb throughout. I am always pleased by Shakespeare's way of developing at least three plots fully, holding the suspense until the final scene, and then matching up everybody perfectly, even better than if they had made their own witting choices, in this case.

  Lovely story, lovely leading ladies.
  
  

• A fine and poignant comedy
  By on 1999-01-19
  I want to second the comments of the reviewer from Maryland; the critique is thorough and exact. I especially want to second his praise of Imogen Stubbs as Viola. As Lucy Steele in "Sense and Sensibility" she was all quiet, icy, prickly malice. Here she could hardly be more sane, sweet, and appealing. Her Viola is a triumph of decency and intelligence, caught in a painful and ludicrous situation. Stubbs captures both the pathos and silliness of Viola's plight. Her Viola is pining with a love than cannot even be admitted, much less requited, but has the wit to see the irony of her situation; her eyes reflect witty intelligence and pain at once. I've seen this comedy played straight for laughs, with at best modest success. Here Trevor Nunn takes very seriously the underlying heartbreak and sorrow of the play and produces a deeply moving (and funny) work. It reminds us how close comedy and tragedy can come. Or as Thurber noted, "The wheels of comedy are turned by the damp hand of melancholy." It's hard to imagine a viewer not falling in love with Imogen Stubbs in this role. A very funny Helena Bonham Carter and a strange, uncanny performance by Kingsley as the all-seeing Feste are added attractions.
  
  
• It maketh me want to cry...
  By A1SFKU0AW1EGEI on 2005-09-15
  This film is amazing from start to finish. The acting, the music, the scenery, they are all beautifully done. I love Shakespeare and this was my favorite play before I saw the movie. Now that I've seen this, it is also one of my favorite movies. I've been waiting for this DVD for a long time and I'm so glad it's finally here! I wish Amazon.com sold the soundtrack to it, because it is entrancing. When you watch, be sure to have some kleenex for the end...By the way, if Duke Orsino (Toby Stephens) looks familiar, he was in James Bond: Die Another Day and is Dame Maggie Smith's son.
  
  

• Much Ado About Nothing
• William Shakespeare's Hamlet (Two-Disc Special Edition)
• A Midsummer Night's Dream
• As You Like It
• Henry V