🎦 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 lovely adaptation
Trevor Nunn's adaptation of Twelfth Night is exceptionally beautiful, well acted, and emotionally engaging. Ben Kingsley's performance as the Fool stands out as magnificent, but the entire ensemble comes off very well. The film nails both the joy and the darkness of Shakespeare's play - and the play, make no mistake, contains plenty of dark and strange moments when things go, as the drunken uncle Sir Toby Belch says, "Out of tune, sir." The filmmakers deserve credit for not glossing over the shades of sadism in Toby's treatment of Malvolio or the shallow fickleness of Orsino's character. The wintry Cornwall setting dovetails perfectly with the mood of the play, half sun and half shadow, and the costume design (roughly Edwardian, though I am not an expert on fashion history) creatively evokes the luxury of Orsino and Olivia's courtly world, while allowing for - even necessitating - the brilliant re-imagining of the Fool as bohemian vagabond.
Beautiful, but flawed
The photography on this movie is great, and a lot of the acting is great -- but some of the scenes get very heavy-handed (it's supposed to be a comedy, but somebody's crying every 10 minutes...) and grim which distracts from the flow of the movie and is unnecessary.
Beautiful, yes...but too much realism, for this play anyways
There are several good reasons to spend an evening with this production of a standard Shakespearean tale of gender confusion and romantic comedy. The lush scenery and attention to period detail, top-notch performances, and Ben Kingsley's rightly acclaimed turn as Feste, the wise and knowing Fool.

Nonetheless, the move from play to the big screen has its drawbacks, foremost among which are the great suspension of disbelief the viewer must attempt when Viola is taken seriously as a man, and still moreso when brother and sister, essentially unchanged in appearance, do not immediately recognize each other.

Suspension of disbelief is more commonly expected in a stage production, where the circumstances of the confined surroundings necessitate empathetic participation of the audience. In cinema, however, such constraints are generally not present, and standards are correspondingly higher. But if the screenplay includes elements that demand audience empathy, as is the case here, the production will fare badly at just those places.

Hamlet and other more "serious" works in the Shakespearean canon have few such elements. Plays such as TN, of a more playful nature and which revolve around improbable plot elements, will bear up less well under the close scrutiny of big-screen cinema.
I loved it, although there could have been improvements
I felt this version of the Twelfth Night was one of the most engaging films I've seen in a long time. The acting by Imogen Stubbs was absolutely perfect. She had just the right amount of energy without "eating up the scenery." Plus, I think she looks pretty good as a dude! :D I think she stole the show, but the other actors certainly lived their role, and, even though the plotline of the story was interesting in itself, their efforts caused me to actually care about what's going on. The love connections in the story seemed to be the main focus, although the parallel plot also had its role. The relationship that develops between Orsino and Cesario is probably the most fascinating. A certain scene (which I will not spoil, but occurs as Act 2.4) was an unconventional yet successful way to add dimension and depth to said persons' relationship.

I give abounding credit to Trevor Nunn, for it is difficult to adapt plays to the big screen and have it be as captivating as if you were reading the story or watching the play. Nunn overall works well with the many options presented with film. The pacing, I felt, was a little slow, but the plot twists were often enough to keep one's interest.

My true vice about this movie was at the end, or Act 5 if one has read it. I felt the entire scene lacked so much energy, energy that would have pushed this movie from above average into the worship category. I read the play before watching this, and firstly, Orsino seems to me much angrier in writing than portrayed. I don't fault Toby Stephens entirely, because Orsino's lines were severely transposed and abridged, and crucial lines were left out, such as

"I'll sacrifice the lamb that I do love, to spite the raven's heart within a dove."

I did not hear this line uttered, and the rhyme is supposed to emphasize its import, if I am not mistaken. I think Stephens did a decent job overall, though, even with Orsino's murdered tirades. Cersario's/Viola's lines were also mangled and with less energy than I would have liked to see as well. Again I do not fault Stubbs, for she was terrific anyway. This scene was supposed to be the peak of the story, but it ended up being only a gentle slope. This scene would have made this film adaptation history if not for its climactic weakness. Sad really.

All in all, however, this was a beautiful rendition of a intriguing play, but a stronger scene 5 could have made it an example to all Shakespearean directors. If you want to see something fun and out of the ordinary, though, you'll find this cute little gem a fast-acting remedy to a dull Friday night.
Neat, pretty, fun
Unfortunately, modern day theatre people are still subject to

the whims of Shakespeare; a play that could have done very well

less three or four characters (read: Malvolio, Augecheek) is

always mangled because more emphasis ends up on the foolish

exploits of a drunken uncle and a stuck-up servant than on the

love and pain and all that stuff Shakespeare should have stuck

to (because his attempts at comedy fail in my eyes). Fortunately, enter the camera, just in time to rescue Twelfth

Night from itself. By flipping back and forth in that spastic

way films can, the movie managed to put the emphasis back on the

love between brother and sister (which is always lacking in

stage productions) and Viola's relationship with Orceno and

with Olivia. Also, the reworked character of The Fool is fun

(despite Ben Kingsely's mediocre singing voice), and adds the

necessary atmosphere to let you leave the movie humm
Superior Rendition of a Favorite Shakespeare Comedy
A first-rate cast directed by Trevor Nunn, the premier Shakespeare interpreter of our era, makes this version of Twelfth Night a must-see for anyone who loves Shakespeare. The action appears to take place in the 18th or 19th century but the interpretation is otherwise straight-forward. While reduced from the Shakespearean original to a little over two hours, the script contains all of the essential elements. Nunn takes full advantage of the rugged setting to eliminate the proscenium and draws excellent performances from his cast of British-trained stars led by Helena Bonham Carter as Olivia, Imogen Stubbs as Viola (posing as Rosario), Ben Kingsley as Feste, the clown, Nigel Hawthorne as Malvolio, the proud steward, Mel Smith as Sir Toby Belch who combines with Maria, played by Imelda Stuanton, to reduce Malvolio to ridicule and tears. Viola and her twin brother, Sebastian (Steven MacIntosh), are matched in height and coloring but, as is invariably the case in Twelfth Night, it requires the audience to be blind to the fact that there is no way they could be mistaken for one another. "Suspension of disbelief" is what is required and anyone accustomed to Shakespeare's mistaken identities readily provides it. Sebastian, Viola's twin, has a lesser role, of course, but Steven McIntosh fills it nicely as does Nicholas Farrell as Antonio, who rescues Sebastion from the sea when the ship carrying the twins breaks apart, leading each to believe that the other is dead. The lone weak spot in the cast is Toby Stevens as Orsino, too weak a personality to inspire Viola's love (though his spurning as a suitor by Bonham Carter's Olivia is easy to understand). The plot leading up to Malvolio's fall is stylishly executed and his downfall, in Nigel Hawthorne's extraordinarily capable hands, nearly reaches the level of tragedy.
I don't usually like Shakespeare but I liked this ... a lot.
I'm hard of understanding. I hear all of the sounds but I don't hear them clearly. This makes watching Shakespeare difficult because I can't follow the dialogue. But I really enjoyed this movie. It features a wonderful cast, not a ringer among them. There's tragedy, adventure, comedy, romance, slapstick, intrigue, beautiful photography and people and costumes, and best of all you don't need to understand every word. Just sit back and let it roll over you.
Reading other reviews of 'Twelfth Night' it is interesting to see that some people think it is a slow film and others quite fast. It gripped me from the opening gust of rain on a dark night to Feste dancing off into the sunset. Grappling with Shakespeare is a perilous activity but I thought Trevor Nunn brought out the comedy and the emotions of the story well. It is a film to make you smile at the follies of mankind but also their charm.

Ben Kingsley is amazing. I've never seen Feste played that way but it seemed perfect. Imogen Stubbs does the comedy and the drama equally well. The scene with Orsino in the bathtub is a stock one but she does it beautifully, balancing the humour of the situation with the tenderness and the longing. Imelda Staunton brings unusual depth to the character of Maria. The rest of the cast are great too.

The text of the play is changed around but not unnaturally so. The scene that cuts between Feste's song and Viola/Cesario and Orsino playing cards is wonderful, taking in eight of the characters and telling you more about them. The last act of the play is difficult to stage well but Nunn gives it a good shot.

The Cornwall setting is lovely, the radiant sunshine, the green leaves and fine buildings are captured gorgeously by the cameras. I also liked the music very much and find some of the tunes quite hummable.

Very enjoyable and worth seeing again and again.
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.
New Insights into a Great Play
At one time adaptors of Shakespeare for the cinema trended to concentrate more on his tragedies and history plays rather than his comedies. The 1990s, however, saw two very fine adaptations of Shakespearean comedies, Kenneth Branagh's "Much Ado about Nothing" and Trevor Nunn's "Twelfth Night".

"Twelfth Night" is another name for the Feast of the Epiphany, January 6th, and the action of the play is supposed to take place around that date. Nunn, however, did not shoot this film in winter but in autumn; filming actually took place in November, but the crew were mostly lucky with the weather and the look of the countryside might suggest late September or early October. Although the setting is still officially "Illyria", an old name for Croatia, Nunn effectively updates the action to Victorian England. The film was shot on location in Cornwall, with St Michael's Mount standing in for Orsino's palace and Lanhydrock for Olivia's mansion.

Unlike his contemporary Marlowe in "Edward II", Shakespeare never dealt directly with the subject of homosexuality, but "Twelfth Night" is perhaps the play in which he came closest to dealing with it by implication. The plot revolves around a curious love-triangle, A loves B, who loves C, who loves A. Orsino, Duke of Illyria, is in love with the beautiful countess Olivia. She, however, has no interest in Orsino, but has fallen for "Cesario", the handsome young man whom Orsino uses as his go-between. Unknown to both Orsino and Olivia, however, the supposed "Cesario" is really a disguised woman, Viola- who has fallen in love with her employer. An extra complication- and a possible solution to the problem- arises when Viola's identical twin brother Sebastian, whom she previously believed to be dead, arrives on the scene. (Yes, I know that in reality you cannot have identical opposite-sex twins, but Shakespearean comedies are not noted for their strict realism).

The lesbian overtones to the Olivia/Viola relationship would probably have been rather muted in Shakespeare's day when all female roles would have been played by boys, but here Helena Bonham-Carter and Imogen Stubbs (the director's wife) make the most of them. Even with the assistance of a quasi-military uniform and a false moustache, the lovely Imogen never looks particularly masculine, so there is an implication that Olivia has fallen for someone she consciously believes to be male but subconsciously knows to be female. The gay overtones to the relationship between Toby Stephens' Orsino and "Cesario", and to that between Sebastian and Antonio, the sea-captain who has befriended him, are perhaps even stronger. Certainly, Orsino's conversations with "Cesario" seem remarkably intimate if he really does believe his young companion to be male.

Along with the likes of "Much Ado…" and "As You Like It", "Twelfth Night" is sometimes described as a "joyous" comedy in contradistinction to more "problematic" comedies like "Measure for Measure" and "All's Well that Ends Well". It does, however, have its darker side; several characters, for example, have recently suffered bereavement, or believe themselves to have done so, and this production tends to stress the darkness underlying the play. The autumnal setting contributes to this feeling, as does the fact that most of the characters are seen dressed in black.

The dark overtones are particularly pronounced in the sub-plot involving Olivia's steward, Malvolio. He is sometimes played simply as a narrow- minded Puritan and his adversary Sir Toby as a jovial, lovable old man whose only concern is to have his "cakes and ale". For Nunn, however, matters are not so simple. Nigel Hawthorne's Malvolio- the one character for whom there is no happy ending- is an essentially tragic figure, a dignified and dedicated servant who is tricked into making a fool of himself by a gang of people who have taken an irrational dislike to him. His name is derived from the Italian for "ill will", yet its significance here may be that Malvolio is not so much the perpetrator of malice as the victim of the malice of others.

There is an excellent performance from Mel Smith, better known as a television comedian, as Sir Toby. Smith brings out both the nastiness and the sadness which lie at the heart of his character. Sir Toby is a man of wealth and noble family (he is Olivia's uncle) who has spent his whole life in feasting, drinking and womanising and who has a fondness for cruel practical jokes; besides his tricking of Malvolio he dupes his friend Andrew Aguecheek and "Cesario" into fighting a duel. (Both acquit themselves surprisingly well, given that one is really a woman and the other an arrant coward). Yet there is also an implied sadness about Smith's characterisation; Toby knows that his life has been a wasted one, but feels that it is too late to amend.

Besides Hawthorne and Smith there are too many good contributions to single them all out individually. I must, however, mention Stubbs, who is able to suggest both a male persona and the underlying woman, and Ben Kingsley as Olivia's jester Feste, whom he plays less as a clown than as a sardonic old philosopher, an eccentric but also a man gifted with penetrating insights into human life.

"Twelfth Night" is one of Shakespeare's best-known comedies, and like all well-known Shakespeare plays it has become very familiar in the theatre. A good director, however, whether in the theatre or on screen, will always be able to find something new to say about it, and that is what Nunn has done here. He and his cast have found new insights into this great play, enabling us to see it with new eyes. An excellent production. 9/10
📹 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. 📀