🎦 Twelfth Night or What You Will full movie HD download (Trevor Nunn) - Drama, Romance, Comedy. 🎬
Twelfth Night or What You Will
USA, UK, Ireland
Drama, Romance, Comedy
IMDB rating:
Trevor Nunn
Ben Kingsley as Feste
Sydney Livingstone as Captain (as Sid Livingstone)
James Walker as Priest
Peter Gunn as Fabian
Nigel Hawthorne as Malvolio
Imogen Stubbs as Viola
Tim Bentinck as First Officer
Toby Stephens as Orsino
Richard E. Grant as Sir Andrew Aguecheek
Nicholas Farrell as Antonio
Steven Mackintosh as Sebastian
Mel Smith as Sir Toby Belch
Storyline: Brother and sister Viola and Sebastian, who are not only very close but look a great deal alike, are in a shipwreck, and both think the other dead. When she lands in a foreign country, Viola dresses as her brother and adopts the name Cesario, becoming a trusted friend and confidante to the Count Orsino. Orsino is madly in love with the lady Olivia, who is in mourning due to her brother's recent death, which she uses as an excuse to avoid seeing the count, whom she does not love. He sends Cesario to do his wooing, and Olivia falls in love with the disguised maiden. Things get more complicated in this bittersweet Shakespeare comedy when a moronic nobleman, Sir Andrew Aguecheek, and a self-important servant, Malvolio, get caught up in the schemes of Olivia's uncle, the obese, alcoholic Sir Toby, who leads each to believe Olivia loves him. As well, Sebastian surfaces in the area, and of course there is Feste, the wise fool, around to keep everything in perspective and to marvel, like we ...
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Dark and humorless with some redeeming scenes and performances
As frequently happens with "Twelfth Night," the director and screen writers extensively revamped Shakespeare's script. The concept, of a nineteenth century wartime background, is not inconsistent with the play, but costuming, lighting and cinematography combined to make many scenes excessively dark, almost soupy. The comedians, Sir Toby Belch and Sir Andrew Aguecheek, were decidedly unamusing throughout most of their scenes. Ben Kingsley is unexpected as Feste, the jester, but provided a quality performance although not a sprightly one. Bright spots came from the interaction of "Cesario" and Orsino, and a bright performance by Helena Bonham Carter as Olivia, who played mournful sister, besotted lover and imperious noblewoman with equal brilliance. Her reaction shots when the existence of the twins comes out in (the play's) Act V Scene 2 raised the production single-handedly from a mediocrity to an reasonably good show. In all, this is the best ""Twelfth Night" currently available. The problems are all in the production end, while the performances are, if not always great, certainly up to what should be expected of a fine - if sometimes inappropriate - cast.
handsome, poignant, a bit joyless
Though filmed for the most part in picturesque, sun-drenched Cornish exteriors, this is a rather sombre, steady account of Shakespeare's great, complex play. At times it's genuinely touching, but very rarely funny: Trevor Nunn's direction pitches it rather more as a BBC-esque costume drama than a comedy. Ben Kingsley can't sing but is nonetheless a charismatic, intriguing Feste; Nigel Hawthorne is particularly effective in Malvolio's final scenes, somewhere close to Madness of King George territory, while Imogen Stubbs is an engaging Viola (and reasonably credible Cesario) throughout. Imelda Staunton's Maria stands out too: she gives the impression of being the only remotely level-headed person in Illyria, and her understated distancing of herself from the plot against Malvolio as it becomes crueller is nicely observed. Nunn's direction could do with more subtle touches like that - and it could also do with rather more wit and lightness to offset the prevailing melancholy.

Cinema is rather cruel to the Renaissance stage conceit that identical twins really do appear identical. And perhaps there are other, specifically theatrical artificialities about "Twelfth Night" that don't translate naturally to the screen - like its whole plot, for example. Overall, a serious, honourable but not inspired attempt.
Mostly an enjoyable and accessible adaptation
Viola and Sebastian are siblings who look quite alike and are very close due to being only alone together since the death of their father. They are entertaining on board a ship when a storm sees Viola lost overboard, with Sebastian diving in after her. Separated and each fearing the other lost to the seas, Viola disguises herself as a man, Cesario and wins the confidence and friendship of Duke Orsino, who seeks Viola's help in wooing Lady Olivia. Olivia is wearing the death of her brother like a constant veil to avoid Orsino as she does not love him – however she quickly finds love for her new visitor "Cesario". If that wasn't bad enough, Olivia's cousin Toby Belch conspires to complicate things further by convincing both the simple Sir Andrew Aguecheek and the pompous servant Malvolio that they are both desired by Olivia. Meanwhile, local man Feste looks on at the madness around him.

I do enjoy Shakespeare and enjoy nothing more than the occasional evening down the road in the theatres off the river in Stratford-upon-Avon watching the RSC. However, before anyone thinks I am presenting myself as some form of intellectual, I easily struggle to follow the narrative within the language and will often make sure I know the plot before I start the film so that I can get lost in the flow of the dialogue, miss the meaning of some sections but still follow the overall flow. The "best" productions I have seen on stage and film are presented in such a way to make them accessible to the target audience. With this version of Twelfth Night, I did find some parts of the first half of the film a little hard to get into but as the characters and various threads get developed a bit more.

At the start the aspects of farce and slight melancholy don't totally work but as it went on and I got into it, I found that it worked better and better. It is worth saying this because some viewers who struggle at first and maybe are not familiar with the story may bail within twenty minutes, however to do so, in my opinion, would be a mistake. Nunn's direction is mostly good but the one big problem I did have with the delivery was the sound quality. The dialogue is hard to follow as it is but in some scenes the large rooms produce an echo effect that makes it slightly difficult to hear..

This is not down to the actors though and indeed if the film has one overriding strength it is the performances, which are roundly engaging and fun. Stubbs leads the cast well but, if you excuse the irony, she has a rather straight role in comparison to majority of the rest. Bonham-Carter is really well cast and does good work in the object of affection. Stephens is solid, as are Mackintosh, Livingstone and Farrell. Smith and Staunton are fun and they work well with the enjoyable pompous Hawthorne. Similarly Grant gives good moron and Kingsley does good work as Feste, making a strong core outside of the thread to some degree.

Overall then an enjoyable and engaging version of the Shakespeare. Viewers may find it a bit hard going in the early stages but, aside from the sound issues, it gets increasingly accessible and enjoyable and is a very good adaptation.
Great Adaptation
I had to watch this film along with many others for a class on Shakespeare in production, and let me say this was one of the better ones. The verse, though fast-paced, was fairly easy to understand because the actors knew what they were doing. Trevor Nunn's trimming of the original Shakespearian dialog was tasteful, and didn't detract from the film; I wouldn't have noticed if I hadn't had the actual text in front of me while I was watching it! Ben Kingsly makes a very interesting and mysterious Feste, and the other actors are wonderful. Their characters are emotionally believable, if romantically incompetent, and they make the jokes funny, even though the material is hundreds of years old! The 18th century setting ties in well with the action, and the scenery is enchanting. All in all, a great adaptation of the original.
A romantic comedy about cross-dressing and mistaken identity
This is a graceful, charming, gorgeous-looking version in fairy-tale Edwardian dress, with lots of lovely indoor and outdoor shots. Imogen Stubbs is attractive and feisty as Viola/Cesario, Ben Kingsley delivers a complex and intriguing performance as the fool Feste, and Helena Bonham -Carter is a warm, humorous and devastatingly beautiful Olivia. The supporting cast is funny and lively, the schticks all work, and the ornamental garden deserves star billing.
Indifferent telling of an indifferent play.
Not a great play in the first place, with much of it's ideas, and even characters cribbed from some of Shakespeare's previous plays, this version was simply uninteresting. Despite Richard E. Grant's spirited performance there was just far too much dullness. It all looks very nice, and the cast give their all, but a little lightness of touch would've been welcome.

Director Nunn should stick to the stage where he works best. And casting your wife in one of the main parts is just greedy!
Simply the Best
I was introduced to this delight in the 10th grade during World History as an implementation of my teacher's favorite instructing method- stick in a movie and assign an outline. Dark room, people whispering or making out in the corner, dull movie: this class was normally known as Nap Time, but not that day. In went the tape and out came a story full of vivacity, charm, hilarity and heart.

The story is of a girl, Viola, who loses her brother and disguises herself as him to find work. She falls in love with the Duke, who has sent her to woo a countess by the name of Olivia, who has lost her brother as well. Of course, Olivia falls in love with Viola, thinking she is a young man. Viola now must reject one love because she is a woman and be rejected by another love that believes she is a man. What to do? Throw more people into the mix! Olivia, being a countess and therefore rich as anything, has no lack of other admirers from the insanely stupid Sir Andrew Aguecheeck that her uncle encourages for sport to her pious steward, Malvolio. Each person vies for her attentions while she goes insane over the one "man" she cannot have. Enter Sebastian, Viola's twin brother who *gasp* didn't die after all. Much confusion and laughter later, Viola is finally able to shed her "masculine usurped attire" and profess her love for the now-frazzled Duke. Don't worry about Olivia, she gets to keep a copy, the ever-willing Sebastian.

Watching this movie the first time, I could hardly believe it was written 400 years ago. The story relates flawlessly to a modern audience. Watching it for the hundredth time after I bought it, I am still captivated by the genius adaption. The script is so funny and intertwines plot lines seamlessly. The actors actually know what they are trying to say, which is half of conveying the meaning of the "difficult" language. Even if I did not understand every word, I would get the meaning with help from the incredible acting.

Imogene Stubbs is beautiful as Viola- she really makes a very cute, albeit effeminate "boy." I felt the most for her, especially when she tells the Duke the story of her love for him under the guise of a "sister."

Toby Stephens as the Duke was quite handsome, and made the character more likable. If it had been another person, I would have wondered what in the world Viola saw in the whiny, fanciful man, but he was quite suave and charming.

Olivia-Bonham-Carter shone as the almost bi-polar Olivia. She snapped from the pit of despair to the heights of love within a scene, but invited you to laugh with her in giddiness rather than snort in disbelief.

Ben Kingsly was perfection as Feste, probably the best performance of the movie. He was a fool, but he knew it. He gave a performance of simple farce with a current of keen insight underneath.

The others, Mel Smith, Imelda Staunton, Nigel Hawthorne, Richard Grant, Steven Mackintosh and Nicholas Farrell all provided excellent comedic support, tinged with the faintest hint of melancholy that brought just the right mix.

Whether you're a fan of Shakespeare or not, Twelfth Night is without a doubt an amazing experience. It brings laughter, excitement and maybe even a misty eye with each viewing. Go rent it if you haven't seen it and if you have, pull it out and treat yourself tonight. I know I will.
Second best movie adaptation of a Shakespeare comedy
This is truly a wonderful adaptation of the classic play. All the actors are superb, and the direction is outstanding. The movie only drags momentarily in a few spots; a real accomplishment with any of Shakespeare's works turned into film.

That said, I did find two things odd, (1) I was surprised the writing credits went solely to the director. Should we perhaps throw the Bard in there somewhere? And (2), the tagline's comparison to TOO WONG FOO and THE BIRDCAGE. There's really no homosexual elements in this movie at all, and I was a bit disappointed they threw in those mentions, most likely to draw in modern viewers.

This is a very worthwhile time-killer. Oh, and the best movie adaptation of a Shakespearean comedy is Branagh's MUCH ADO ABOUT NOTHING - if you liked TWELFTH NIGHT, check this one out as well!
Very pleasing and rewarding film.
I won't try to add much, but Twelveth Night is richly filmed and full of incredible bit performances. It is lusty, passionate, beautiful, anxious and very intelligent at the same time. Kingsley really shines unbelievably in a secondary role like this. All these charaters are so developed and important that the story truly seems to be about the supporting characters as well as the leads.
or, What They Won't
In William Shakespeare's "Twelfth Night" (or, "What You Will"), brother and sister twins "Viola" and "Sebastian" are shipwrecked off the shores of "Illyria". "Viola" mistakenly thinks brother "Sebastian" has drowned. She goes to "Illyria" alone; and, she assumes the identity of a young man, "Cesario". In "Illyria", "Cesario" ("Viola") gets a job as gentleman (dresser) for the duke "Orsino". Male (female) "Cesario" ("Viola") falls in love with (male) "Orsino". But, he loves another woman, "Olivia". Meanwhile, "Olivia" falls in love with the female twin "Cesario" ("Viola"), thinking she is a male. Then, real male twin "Sebastian" returns, undead!

Then, all's well that ends well.

The supporting characters in director Trevor Nunn's cinematic version are all right (actually, they come off better, due to the overall execution of the film). But, mainly, it's about Imogen Stubbs (as Viola aka Cesario), and her interaction with Toby Stephens (as Orsino) and Helena Bonham Carter (as Olivia). This "Twelfth Night" is very well produced. It seems much more dramatic than comic, which is most obvious in the tone-setting opening. The supporting characters and subplots retain the more comic flavor, though. This portends a promising adaptation.

But, the film doesn't really end up as you like it.

Ms. Stubbs becomes an endearing "Viola". Both Stubbs and Mr. Stephens, and Stubbs and Ms. Bonham Carter are fun to watch "fall in love". The sexual dynamics work; interestingly, each of the performers add some subtleties. Film, of course, picks up its own (different than stage) nuances. The already shaky premise falls apart, however, when "Sebastian" returns; and, the performers lose credibility very quickly. Originally, a male would more convincingly play BOTH twins. It would have been better to have Stubbs (or even Steven Mackintosh) play both roles. This film points in the right direction; but, next time, either go all the way, or leave "Twelfth Night" on the stage.

****** Twelfth Night (1996) Trevor Nunn ~ Imogen Stubbs, Toby Stephens, Helena Bonham Carter
📹 Twelfth Night or What You Will full movie HD download 1996 - Ben Kingsley, Sydney Livingstone, James Walker, Peter Gunn, Nigel Hawthorne, Imogen Stubbs, Tim Bentinck, Toby Stephens, Imelda Staunton, Richard E. Grant, Nicholas Farrell, Steven Mackintosh, Mel Smith, Helena Bonham Carter, Alan Mitchell - USA, UK, Ireland. 📀