This is a worthy addition to the ever lengthening list of Shakespearean works on film, either in their original format or done as a reworking for modern sensibilities. They range from terrific to patchy but still enjoyable, and a lot of the enjoyment comes from the wonderful casting for each segment -- you get a who's who of terrific British talent, which is always a treat.
My favorite by far is the Much Ado about Nothing segment -- as someone said in one of the supplements, it is the one of the Bard's works that does indeed seem very modern, a boy-meets-girl, they-hate-each-other, they fall in love at the end story (how many have we seen on the big screen like that?) Damien Lewis, who has been a favorite of mine since The Forsyte Saga, is pitch perfect as Benedick. And thank you to the writers for giving me a Hero that I did NOT want to strangle (sorry, gang, but Shakespeare blew it with her -- Claudio dumps on her not once, but twice, in public, and she still marries him and assures him she's still a 'maid'? come on!!)
"Macbeth" was a bit odd, but once Igot used to the idea of it being set in a restaurant, I went with the flow and found it very well done and very chilling. James McAvoy is fabulous (have to admit, he is why I rented this set in the first place, HUGE fan) and Keeley Hawes is a magnificent 'power behind the throne'. And I did love the idea of the three weird sisters being three mystical bin men -- that's warped enough to be a lot of fun.
"Taming of the Shrew" has never been my favorite of the canon, and I didn't have great expectations for this segment. It worked rather better than I expected, as this Petruchio analog (the wonderful Rufus Sewell) does actually love Kate. However, Shirley Henderson does not make the transition convincing for me, any more than Shakespeare's Kate convinced me. It's probably my modern sensibilities coming into play again, but the idea of browbeating (and worse) a woman into submission doesn't work for me. And this Kate is even more of a witch than the original, something I didn't think was even possible. It has its moments (one of them NOT being the bizarre costume at the wedding), but with the source material what it is, it just did not satisfy.
"Midsummer Night's Dream" was a frolic, as was the original, and there has to be a fantasy element with this story, or it does not work at all. It gets a little crazy at times, but the casting saves it, primarily Bill Paterson and Imelda Staunton as the parents of the would-be bride. I adore the gent playing Puck, whose name I can't now remember, and I can never remember Sharon Small being so gorgeous (I'm used to her from the Inspector Linley mysteries). And it was a surprise to find out that Rupert Evans, late of Hellboy, was a Brit! In all, I enjoyed the entire set, but some stories more than others. It is, however, one I would highly recommend for anyone that likes an alternative view of the Bard.
My favorite by far is the Much Ado about Nothing segment -- as someone said in one of the supplements, it is the one of the Bard's works that does indeed seem very modern, a boy-meets-girl, they-hate-each-other, they fall in love at the end story (how many have we seen on the big screen like that?) Damien Lewis, who has been a favorite of mine since The Forsyte Saga, is pitch perfect as Benedick. And thank you to the writers for giving me a Hero that I did NOT want to strangle (sorry, gang, but Shakespeare blew it with her -- Claudio dumps on her not once, but twice, in public, and she still marries him and assures him she's still a 'maid'? come on!!)
"Macbeth" was a bit odd, but once Igot used to the idea of it being set in a restaurant, I went with the flow and found it very well done and very chilling. James McAvoy is fabulous (have to admit, he is why I rented this set in the first place, HUGE fan) and Keeley Hawes is a magnificent 'power behind the throne'. And I did love the idea of the three weird sisters being three mystical bin men -- that's warped enough to be a lot of fun.
"Taming of the Shrew" has never been my favorite of the canon, and I didn't have great expectations for this segment. It worked rather better than I expected, as this Petruchio analog (the wonderful Rufus Sewell) does actually love Kate. However, Shirley Henderson does not make the transition convincing for me, any more than Shakespeare's Kate convinced me. It's probably my modern sensibilities coming into play again, but the idea of browbeating (and worse) a woman into submission doesn't work for me. And this Kate is even more of a witch than the original, something I didn't think was even possible. It has its moments (one of them NOT being the bizarre costume at the wedding), but with the source material what it is, it just did not satisfy.
"Midsummer Night's Dream" was a frolic, as was the original, and there has to be a fantasy element with this story, or it does not work at all. It gets a little crazy at times, but the casting saves it, primarily Bill Paterson and Imelda Staunton as the parents of the would-be bride. I adore the gent playing Puck, whose name I can't now remember, and I can never remember Sharon Small being so gorgeous (I'm used to her from the Inspector Linley mysteries). And it was a surprise to find out that Rupert Evans, late of Hellboy, was a Brit! In all, I enjoyed the entire set, but some stories more than others. It is, however, one I would highly recommend for anyone that likes an alternative view of the Bard.