🎦 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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A modern classic
What is wrong with Trevor Nunn's Twelfth Night? Not a lot! This phenomenal production is immortalized by nothing short of epochally well-cast versions of Feste, Toby Belch and Olivia. These are beyond perfection. Most of the others are great as well, but I will single out Olivia again, as I hold Helena Bonham-Carter to be the One True Fit for Shakespeare's quintessential "dark lady" stock character, and it is such a shame that she hasn't had the chance to prove it more often.

Anyway - there is one major imperfection in this Twelfth, and that is Malvolio. No slight to Nigel Hawthorne, but he's trying too hard. Or the movie is relying too much on him. He is too pathetic. We are not supposed to feel sorry for him; he's the villain! Not the wronged party! Sure, he gets fooled something fierce, and maybe it's going a bit too far, but, he sure did set himself up for it, didn't he! Malvolio should be an asset to this play, not an obstacle. Fortunately, we can enjoy Viola and Olivia and Orsino and Sebastian and Feste and the others. And that is good enough for me.

10 out of 10.
Twelfth Night
Gender fluidity, a love square, and Shakespeare; what more can one ask for in a movie? Twelfth Night is an adaptation of Shakespeare's play of the same name. This version, directed by Trevor Nunn in 1996 starred Imogen Stubbs, Steven Mackintosh, Ben Kingsley, and Helena Bonham Carter. Exploring such issues as the uncertainty of gender and the curse of love, the bard never shied away from a heavy story. Twelfth Night is a film with a beautiful production design accompanying Shakespeare's well-known prose, making the film an enjoyable journey for audiences of all ages.

Washed to shore after a shipwreck, aristocrat Viola (Imogen Stubbs) longs to be reunited with the brother she was separated with at sea. While attempting to navigate the new land she has been washed upon, Viola is devastated with the assumption that her brother has perished at sea. She now finds herself alone and in unfamiliar territory. Without her brother Sebastian(Steven Mackintosh), Viola must find a way to work and fend for herself. Once hearing about a Lady Olivia (Helena Bonham Carter), who is mourning the loss of her brother, Viola feels a kinship and wishes to work in Lady Olivia's home. She learns, however, that Lady Olivia is not talking to strangers and is in deep mourning over the loss of her brother. Viola then learns that a nobleman, Count Orsino lies around listening to music all day, hopelessly in love with Lady Olivia. Viola decides to dress up as a man and work in the Count's home as a way to gain proximity to Lady Olivia. Viola's life becomes complicated when she falls for Count Orsino, Count Orsino refuses to abandon his love of Lady Olivia, and Lady Olivia falls for Cesario, the name Viola adopted when she began her life as a man. The curse of love plagues all in this Shakespeare classic, and seeing the journey unfold on-screen is certainly a treat for audiences.

The first hour of this film moves incredibly slow. Having such an interesting plot, and many subplots within, I did not anticipate pacing being an issue for this film, but it certainly was. The production design was beautiful and the castles in which Lady Olivia and Count Orsino lived were beautifully done. A period piece such as this one depends upon its production design to be able to transform the audience into another place and time, and Trevor Nunn obviously knew that quite well. Nunn obviously took painstaking measures to create a realism to his film that cannot be ignored. Perhaps it was his dedication to realism that dragged on the first half of the film with endless shots of the sets being used. Whatever the issue, the sets were beautiful. The film was comprised of mostly British actors, which is always a treat for this film buff. By in large, British actors bring a sense of regalness to the roles they take, which is especially important when tackling Shakespeare. There was also wonderful music sprinkled throughout Twelfth Night. Oftentimes, especially throughout the first hour of the film, the music and acting were the only bright spots moving the film along. Another treat was being introduced to Helena Bonham Carter. I had never before seen a film starring the actress and only knew her as being romantically linked to director Tim Burton, so I was never sure what to expect from her. I was pleasantly surprised by her range on screen. She played the mourning, yet playful sister quite well. Bonham Carter also had no issue playing the love-struck yet hard to get Lady Olivia. Playing these opposites off each other so well gave me a new respect for the actress.

Twelfth Night goes to great depth to explore the limits of gender. Gender is, without question, the most obvious theme throughout the film, as it explores the sexual confusion created when Viola dresses up as a man. Meanwhile; while trying to gain access to Lady Olivia for herself, all the while working for Count Orsino in attempts to convince Lady Olivia to love him, Viola falls in love with Orsino herself. This love must remain a secret because no one knows Viola's true identity as a woman. Shakespeare doesn't do much to clear up this confusion, even by the play's close. Count Orsino seems to enjoy loving Viola while she is still exhibiting masculinity. It is left as a mystery whether or not Orsino loves Viola or her masculine persona. Another withstanding theme throughout the film is the burden of love. No one that loves someone is happy in this romantic comedy. Love seems to wage a war within each individual that experiences it on-screen, rather than the happy life-fulfilling emotion we are more comfortable describing it as. Whether the ending leaves you feeling like love conquers all, or love is for the birds, Shakespeare's romantic comedy is one that has endured.
Why was this story transposed to a totally inappropriate era?
It may be that since I have become older my hearing has deteriorated, or that my TV set needs replacing, or that the cable signal here is below par; but, for many dramatic works on TV, I now consistently find difficulty in following the dialogue. When this happens I usually attribute it to poor diction by the cast members. This would be very difficult to do in the case of Twelfth Night which has a uniformly excellent cast. Nevertheless my experience is that this problem is always exacerbated during the performance of any classic work which has been significantly transposed in either space of time, and I therefore do not generally enthuse about productions featuring Shakespearean plays as contemporary works. This film of Twelfth Night is actually set in the nineteenth century, and is also geographically transposed from Illyria to what is clearly Cornwall. Unfortunately I personally found this to be even more confusing than a completely contemporary performance. With Shakespeare in modern dress, one must accept the cast travelling by automobile or aeroplane and using modern electronic equipment, but here we have a period piece where the sixteenth century dialogue is spoken by actors in nineteenth century attire and interspersed by the playing of modern musical instruments and games, the use of period firearms, the riding of bicycles, and travel by stagecoach. For me such changes created great incongruities which destroyed the illusion of reality that all dramatic works have to try to create, and thus made the plot even more difficult to follow. So I am sorry but I cannot share the enthusiasm of many other viewers whose comments are recorded here.

That said, I must acknowledge that the performances are outstanding and the play flows in a way which many more traditional versions do not. Twelfth Night is one of Shakespeare's finest plays, with many complex characters who can constantly surprise the audience without in any way derailing the ongoing comedy, and this makes the play a joy to watch. Unfortunately only too often this comedy is reduced to near slapstick, which completely hides the depth Shakespeare wrote into most of the characters he created. Nunn's presentation is one of the best I have seen for gradually revealing these unexpected facets of character as his (greatly shortened) play develops. The longer I watched it the more at home I felt, and the nearer I came to at last being drawn into the performance. I can readily understand that those who do not share the reservations I have expressed above would be likely to rate this film very highly. In particular the performances of Ben Kingsley as Feste and of Helen Bonham Carter as Olivia are of award winning quality. The photography is also delightful, and the film shows none of the blips in continuity that so often take place when a heavily cut play by Shakespeare is filmed. Overall I have rated this film at 5 stars; but readers of these comments should recognise that I would have liked to give it a higher rating if only I had been able to forget occasionally that I was watching actors playing rather strange and hybrid parts.
Great but not absolutely stunning
This is a great, date film, full of fun, and something to rent on a Friday night. The movie is filled with delightful characters and stays true to Shakespeare's play. Both Ben Kingsley (Feste) and the late Sir Nigel Hawthorne (Malvolio) steal the show with their crazy antics as well as the characters of Sir Toby Belch and Co.

The guys who played the Duke of Orsino and Viola's twin brother are absolutely handsome and great in their roles. Helena Bonham-Carter was excellent in her role as Olivia.

I give this movie 3 out of 4 stars.
And why not?
Those who complain about the fact that watching films of Shakespeare is not, in their eyes, as good as reading him are rather missing the point: Shakespeare wrote plays. Plays intended to be watched, not read. Admittedly, Elizabethan theatre and C.20th/21st cinema are completely different beasts and the transplant of a work from one to the other needs to be handled very carefully. This is quite a good film. The cast are good, the choice of which parts would and would not work in film was (usually) good and the soundtrack is quite nice, although certain liberties have been taken with the lyrics that Shakespeare included in the play. Nigel Hawthorne does overact, but then, the play is a farce and Malvolio a comedy villain of sorts. Heaven help us when comedy baddies no longer overact. The sets are good, although parts of Illyria seem to bear a striking resemblance to well-known landmarks in Cornwall, and the damp look to the outdoor shots adds a certain something to the really rather bleak situation in which Viola finds herself. Overall, this film is, well, nice; it won't set the world alight , but it is an enjoyable diversion, best watched with a mug of tea on a rainy afternoon, made all the more pleasant by the total absence of Leonardo DiCaprio and lamentable Hollywood directors who can't create drama without a riot of flashing lights and sirens.
Very nice adaptation, gorgeous costumes...
The only version I had seen before this was an old BBC stage version, and I have to say this totally blew that out of the water. The changes made to the original were quite an improvement and really strengthened the play - and the cast was marvelous. Just absolutely amazing. I'm trying to think of something bad to say about it, but can't... I think I'll watch it again tonight.
A pretty corpse; the herd is wrong.
If Shakespeare were this dead, we'd all be reading Ben Jonson instead.

Pretty pictures and big names don't guarantee the illusion of life.

We need people to move, to have energy, to make us care about what happens to them. It's a comedy, remember?

This was more like a glossy coffee-table picture book of fabulous house interiors. An uninhabited house.

Shakespeare wrote a whole raft of interesting people.

I wanted to get interested in these people up there on the screen, but they were all on life-support, like a group coma punctuated by an occasional wake.

"O for a muse of fire!" Or at least a director with some.
Very entertaining
I was in a recent production of this play, and had no idea what was happening after I read it. I saw the film, and the capable cast cleared it up for me. This is very funny, and I recommend it for those college students who think Shakespeare is boring. Great job.
This movie was an absolute joy. This is probably my favorite play of Shakespeare's and they nailed so many elements that I've often found lacking in productions I've seen. There is palpable chemistry between Viola and Orsino, especially in those luscious moments with Orsino in the tub. The connection between Viola and Sebastian gave the whole story such emotional richness, and I've never been so moved by the reunion scene. I loved that Trevor Nunn embraced the darkness of the comedy. No, this is not a side-splitter, and trying to make it one just weakens the impact of the story. Every actor was impeccably cast, the setting was gorgeous and I highly recommend it to anyone who loves Shakespeare, or who hasn't understood what all the fuss is.
📹 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. 📀