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Post by RedDeadFallout on Dec 7, 2018 23:43:08 GMT
I'm currently watching Coriolanus and plan on finally watching Laurence Olivier's Hamlet, and I'm finding myself really interested in Throne of Blood, which I find kind of odd as I don't really see the point of Shakespeare adaptations that don't use the dialogue.
Anyone have any favourite Shakespeare adaptations? Or ones they plan on watching?
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Post by politicidal on Dec 8, 2018 0:54:53 GMT
Richard III (1955) 9/10
Hamlet (1996) 9/10
Richard III (1995) 9/10
Henry V (1989) 7/10
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Post by llanwydd on Dec 8, 2018 2:22:51 GMT
Richard III (1955) 9/10
Hamlet (1996) 9/10
Richard III (1995) 9/10
Henry V (1989) 7/10
Richard III is one of my favorite Shakespeare plays but I didn't care much for either film version because the first didn't stick to the original text and the remake was a silly anachronism, in my opinion. In fact, Olivier's version had lines written by later playwrights and eliminated Queen Margaret who was a fascinating character. I think I liked the 1935 version of A Midsummer Night's Dream the best of all because of the all-star cast and the overall cheerful approach to the story. Others I like...every one of Branagh's, both of Zefferelli's and Olivier's Hamlet.
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Post by RedDeadFallout on Dec 10, 2018 1:39:05 GMT
Anyone watched Orson Welles Macbeth? He didn't seem to like it but I find it pretty powerful.
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Post by moviebuffbrad on Dec 13, 2018 4:18:43 GMT
My personal favorites:
Ran The Lion King West Side Story Much Ado About Nothing (1993) O
The fourth is the only one to use the dialogue, though I get what you mean. Straight adaptations just kind of feel hokey to me. It works with Much Ado because it's a comedy.
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Post by llanwydd on Dec 13, 2018 5:43:17 GMT
My personal favorites: Ran The Lion King West Side Story Much Ado About Nothing (1993) O The fourth is the only one to use the dialogue, though I get what you mean. Straight adaptations just kind of feel hokey to me. It works with Much Ado because it's a comedy. I have not seen The Lion King. What Shakespeare play is it based on?
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Post by moviebuffbrad on Dec 13, 2018 6:06:40 GMT
My personal favorites: Ran The Lion King West Side Story Much Ado About Nothing (1993) O The fourth is the only one to use the dialogue, though I get what you mean. Straight adaptations just kind of feel hokey to me. It works with Much Ado because it's a comedy. I have not seen The Lion King. What Shakespeare play is it based on? Hamlet.
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Post by mikef6 on Dec 17, 2018 1:07:27 GMT
I'm still not sure what you mean by "Shakespeare adaptations." If you mean movies that use plot points from Will's plays in another story, then I don't have any favorites, in fact, I avoid them. BUT, if you mean plays adapted for film, then I've got you covered.
âI love Shakespeare. He wrote some of the rawest stories, man. I mean look at Romeo and Juliet. That's some serious ghetto shit." - Tupac
In Titus / Julie Taymor (1999). Taymor (a name that will come up two more times in this list) makes a case for one of Shakespeareâs earliest and most reviled plays. Taymor ups the visual interest to 11 while retaining much of the dialog. The cast is near perfect. Anthony Hopkins is the title character, Alan Cumming plays Saturninus as an entitled spoiled brat, and Harry Lennix chews some scenery marvelously as Aaron. But it is Jessica Lange who will chill you, thrill you and fulfill you as the evil Queen Tamora.
Romeo And Juliet / Franco Zeffirelli (1968). This film had a profound influence on a generation and beyond. Not only did it turn on its generation to Shakespeare, it replaced âJulius Caesarâ as the go-to play to teach in high school. As, now, a play of its time in the late â60s, schools dumped one of Shakespeareâs few plays with no sex to one with tons of sex.
Romeo + Juliet / Baz Luhrman (1996). R&J for the next generation. This film startled and shook up some Shakespeare purists, but, for me, it is a real thriller and truly tragic (made even more so â and more cruel - by a slight tinkering with the final death scenes.)
The Taming Of The Shrew / Franco Zeffirelli (1967). La Liz and Dickie (for the younger set, that's Elizabeth Taylor and her husband Richard Burton) in Shakespeare's anti-feminist romp (or is it subtly subversive of the patriarchal society of the Early Modern Period?).
A Midsummer Nightâs Dream / Peter Hall (1968). Excellent film of a RSC production with a top-flight cast. Helen Mirren, David Warner, Michael Jayston, and Diana Rigg as the four lovers from Athens, Ian Holm as Puck, Paul Rogers as Bottom, and best of all, Ian Richardson and Judi Dench as the sexiest King and Queen of the Fairies that you will ever find. Canât miss.
A Midsummer Nightâs Dream / Julie Taymor (2014). This is a film of a production at the Theater for a New Audience in Brooklyn in 2013. It was shot with multiple cameras over four nights and then edited like a regular movie. Highly recommended, especially if unfamiliar with the play. A good time will be had by all. This is now out on DVD and, I think, Blu-ray.
The Merchant Of Venice / Michael Radford. (2004). Al Pacino gets his chance at a full-length Shakespearean movie role and he nails it so completely that he may have ruined it for every other actor. âMerchantâ is the Bardâs most controversial and disturbing play because of the portrayal of the Jewish money lender, Shylock (Pacino), in Venice.
Much Ado About Nothing / Kenneth Branagh (1993) Much Ado About Nothing / Joss Whedon (2012)
The worldâs first rom-com and one of my favorite plays is given two top-notch film productions, just about 20 years apart. The 1993 âMuch Adoâ is on my Top 10 of the â90s. The Whedon film is a truly amazing work that gave me chills of horror when I first heard it announced, but came to looking forward to its release and left the theater walking on air. Amy Acker (Beatrice) is a true discovery. Nathan Fillion (Firefly, Castle), who had never acted Shakespeare before and was very doubtful about accepting the role, is impossibly funny as the vocabulary challenged constable. He is my personal Best Supporting Actor of 2012.
Twelfth Night, or What You Will / Paul Kafno (1988). Although Kafno is credited as director of the television film, what is being performed is a stage production directed by Kenneth Branagh. Branagh makes more of a serious dramatic play from the materials than is usual. I have seen a couple of university stagings that were hilarious, but the Branaghâs actors find a more serious, perhaps melancholy, path
Julius Caesar / Joseph L. Mankiewicz (1953). Mankiewicz had to shoot this on the cheap (using sets left over from âQuo Vadisâ) to get the project approved. The biggest budget item were two British actors, James Mason and John Gielgud as Brutus and Cassius. In what some considered stunt casting, Marlon Brando in only his fourth film got the call as Marc Antony. Brando triumphs, proving once and for all that he could act in more than modern drama and that The Method was viable even in Shakespeare - and this has proved to be so to this day (see also Al Pacino, above).
The Hollow Crown.
Richard II Henry IV parts 1 and 2 Henry V Henry VI parts 1, 2, and 3 Richard III
The BBC undertook a series of Shakespeareâs War Of The Roses historical chronicles and has turned in a major triumph on every front. âRichard IIâ stars Ben Whishaw as Richard, Rory Kinnear (The Imitation Game) as Richardâs usurper, David Suchet as York, and Patrick Stewart as John of Gaunt. Tom Hiddleston carries the next three plays as, first, as Prince Hal who cavorts at the Mermaid Tavern with Sir John Falstaff (Simon Russell Beale) but who converts into the heroic King Henry V. But Henry dies young, leaving an infant son as his heir. Henry VI grew to be a weak, easily led monarch who was unfit for rule. Many military battles and internal power struggles leaves the evil Richard of Gloucester as King. There is lots of location filming, wonderful natural acting, understandable spoken language, and many thrills and horrors. Capping the series is Benedict Cumberbatchâs definitive Richard. He is so great that I get goose bumps just thinking about it. One thing I learned from this production was how important Henry VI, part 3 is to Richard III. It is essential to Richardâs backstory. It explains who all these people at the beginning of âRichard IIIâ are: why they are quarreling, why they hate each other, and who that crazy woman is who roams the castle ranting curses at people. See them all. See them now.
Hamlet / John Gielgud (1964) Hamlet / Gregory Doren (2009)
In 1963 Richard Burton attacked the title role in a Broadway production directed by John Gielgud. This movie is a film of one of the actual nights with the sounds of the New York audience very much in evidence. Burtonâs voice and portrayal are very muscular and masculine. The Gregory Doren film, starring David Tennant (the tenth Doctor on âDoctor Whoâ) and Patrick Stewart as King Claudius, is a film of a stage production that played to critical acclaim and sold-out houses during one summer at the Globe in Stratford. When the play moved to Londonâs West End in the Fall, the entire run of the play was booked between 6:00 am and lunchtime on the first day tickets were available. From the evidence of this film, the support was deserved. Nothing is done by rote. Every character, his/her motivation, thoughts and feelings have been carefully re-thought in light of modern psychology and acting styles. Tennant gives us a Hamlet for this time in history. Patrick Stewart is the best King Claudius I have ever seen. Period. Very, very highly recommended.
King Lear / Edwin Sherin (1974). This was filmed live in front of an audience as part of Joseph Pappâs New York Shakespeare Festival at an outdoor theater in Central Park. James Earl Jones plays the title King and, as far as I am concerned, he is definitive until proven otherwise. His towering portrayal of Lear is of a commanding man who, because of slights and degradations both real and imagined that come from those closest to him, is reduced to a sad and impotent figure still trying to hold on to some majesty. Raul Julia makes a fine sarcastic villain in Edmund. Rosalind Cash plays the eldest evil daughter, Goneril, while Lee Chamberlin (most well known for her seasons paired with Morgan Freeman on âThe Electric Companyâ) essays Cordelia. Paul Sorvino is Gloucester; Rene Auberjonois, Edgar. As in all productions I admire, there is truthfulness in acting (in a modern sense) and the text is respected. Wonderful.
A Performance Of Macbeth / Philip Casson (1979). Ian McKellen steps up as the noble Thane who is tempted into murder. His performance stands with one foot in the older declamatory style but with another in modern style, especially in those moments of heightened tension. Roger Rees is a standout as Malcolm. Ian McDiarmid (Emperor Palpatine!) doubles as a nobleman, Ross, and scores as the Porter in the famous comedy interruption that comes between the Kingâs murder and its discovery. Judi Dench, though, as Lady Macbeth is the true revelation of this production. It is magnificence, indeed. She digs into the character with all her ambiguities, forcefulness, doubts and guilt.
The Tempest / Julie Taymor (2010). In switching protagonistâs gender from Prospero to Prospera and getting Helen Mirren to play the part, Taymor came up with a great idea which works. One reason is that turning Prospera/Miranda into a mother/daughter relationship makes a lot of sense and fits the lines they are given to speak. Mirren is terrific as are fellow Brits Alfred, Tom Conti, Alan Cumming, and Ben Whishaw. American actors David Strathairn and Chris Cooper comport themselves like experienced Shakespeareans, which they may very well be. This was my first encounter with Russell Brand. Speaking lines from âThe Tempestâ made him barely tolerable. This is a solid and very enjoyable version of the Jacobean masterwork.
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Post by RedDeadFallout on Dec 17, 2018 15:13:23 GMT
I'd never heard of The Hollow Crown, thanks for the recommendation.
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