🎦 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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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.
warm and witty adaptation
Put Imogen Stubbs and Helena Bonham-Carter together as Viola/Cesario and Olivia, add Toby Stephens (Orsino), Mel Smith (Toby Belch), Richard E Grant (Andrew Aguecheek), Imelda Staunton (Maria), Nigel Hawthorne (Malvolio), and Ben Kingsley (Feste) to the mix - and Trevor Nunn's bright and witty film couldn't fail. It moves along at a cracking pace and is helped by Shaun Davey's score which gives new life to Shakespeare songs The Wind and the Rain, and O Mistress Mine. Steven Mackintosh plays the lost twin, and is also effective in his small role, as is Nicholas Farrell as his friend and rescuer.
Absolutely Ponderous
I beg to differ from the other User Comments. My family likes Shakespeare and we all agreed that this was one of the WORST adaptations we've seen! True the sets and photography were lovely, but the pacing was excruciatingly slow. In my opinion, the secret to a successful production of a Shakespeare comedy, at least for a modern audience, lies in rapid-fire delivery of the lines with a sense of tongue-in-cheek. Otherwise, the audience is given too much opportunity to realize just how ridiculous and implausible the plot really is. In this production, the lines seem to be dragged out to their ultimate limit, with lots of pauses in between. While I think that Shakespeare's comedies are more difficult to interpret on film than his tragedies, there have been some successes. Kenneth Branagh's `Much Ado About Nothing' and Franco Zefferelli's `Taming of the Shrew' come to mind. Even Peter Hoffman's recent `A Midsummer Night Dream', despite some casting mistakes, was better than this. Helena Bonham-Carter's considerable talents are wasted in the production, as I suspect are those of the other actors, with whom I am less familiar. None of them seem be having any fun. It's hard to believe that such an experienced Shakespearean director could have missed the mark so badly. I've seen a production by kids aged 9-14 that had a lot more energy than this!
A lively, bubbly production of one of Shakespeare's more difficult plays. It's hard to know just what Shakespeare was getting at with this story. The text doesn't always seem to make sense. That's reflected in this, as well as any other, production. At times, one wonders what the expressions on characters' faces are meant to indicate. Just after Feste has fooled Malvolio with his imitation of the curate, for instance, Maria has a perturbed look on her face. As if the joke that she herself so elaborately designed now troubles her. There's nothing in the text to indicate that her expression should show remorse; and yet Sir Toby soon after says that he's sick of the whole thing. Why? That's one example of the difficulty of the text (which may have been corrupted over the centuries), and how it is manifested in this particular production's choices. I don't know why Sir Toby remarks at this point that he's sick of the joke, nor do I know whether Maria should share his feelings.

Another difficulty is the role of Feste. Ben Kingsley fills this role, and because Ben Kingsley is a major star, he magnifies this character (in my opinion) out of all proportion. He becomes a sort of Zen master, pompous and oppressive. His jokes aren't funny (maybe we can't find Shakespeare's jokes funny today, but Kingsley's heavy delivery precludes humor), and his last confrontation with Malvolio comes off as a sort of thundering divine retribution. The entire play, the entire cast, stops dead and Feste takes over as if the whole point of the play has been his apotheosis at the expense of the degraded Malvolio. This surely cannot be what Shakespeare had in mind. Throughout the play he has a disconcerting habit of staring at other characters or the camera with what almost be described as a leer.

Maybe Shakespeare would have sighed and commiserated with the producer of this film, because the clowns in his day were also big stars who demanded a lot of meat in their roles. The trouble is that there just isn't much meat in Feste's role according to the text, so we're stuck with leers and thundering retribution and other inventions. Shakespeare had to accommodate his clowns with ever-more important roles, climaxing with characters like Touchstone and Lear's fool. Kingsley is just inventing his own character. At times his work is interesting, but his weight in the production is, as I said, oppressive.

Still, his screen time is relatively small, and much of the rest of the play is a joy, even if the point of the story isn't always clear. Bonham-Carter was never more alluring, Hawthorne is priceless as Malvolio (he was born for the role), and Smith and Grant are the perfect combination of Belch and Aguecheek. I suppose you might object that all four of them put their eyebrows to such prodigious use that their acting might be characterized as hamming. But I don't see how any of these characters can be played straight if the play is to work.

One thing is for sure, no one would ever accuse this production of bogging down. The pace is lively, the sets and the cinematography are always striking, the score is invigorating, and I suspect that I could watch this film dubbed in Swahili and it would still be a lot of fun. Visually arresting is perhaps the best description.
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.
One of the best adaptations of Shakespeare I've seen!
I'm in a Shakespeare class in school this year, and we watched two or three different movies/films of each play we read. We only watched a few scenes from this one after reading "Twelfth Night," but it made such an impression on me that I asked the teacher to borrow it that night. I loved the costumes, the scenery, the acting, and especially the musical arrangements of the rhymes Shakespeare wrote for Feste. And speaking of which, I don't know why some people didn't like Ben Kingsley in the role. I can't imagine anyone else doing it; he brought a certain special wistfulness to the part that I'm pretty sure only he could make believable. In any case, although I would normally be wary of Trevor Nunn (who overproduced Les Miserables along with Cameron Mackintosh), I was very impressed with his interpretation. 9.9 out of 10!
Almost perfect
From a Shakespearean Comedy point of view, this film is unbeatable. Beautifully shot, wonderfully acted, brilliantly conceived. It's hard to be critical of any part of this marvelous film.

I use this film, along with Julie Taymor's "Titus", to introduce people to Shakespeare. Yes, there are two problems - one short but necessary stretch that is too wordy, and the final humiliation scene of Malvolio that is played too seriously - but the film wins every other moment.

I continue to marvel at Ben Kingsley. Here he plays Feste as if he is watching the play unfold with you, even has he participates in it. His whimsy is palpable, and you can't take your eyes off him. His songs might be the high point of the film.

No, you won't believe the plot. I don't think Shakespeare ever thought someone would believe it. It's a comedy. Just go along with it, let it charm you. You won't be disappointed. I give it a 9.8, but have to round up to 10. What a lovely film!
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.
An excellent adaptation
Trevor Nunn's adaptation of one of Shakespeare's best comedies rates as one of the finest. He has assembled a superb cast including the excellent Ben Kingsley,outstanding Nigel Hawthorne and Imelda Staunton who plays the stern maid Maria with relish. Hawthorne in particular steals the show with his portrayal of Malvolio the uptight servant who is deceived by Maria, Sir Toby (Mel Smith)and Sir Andrew (Richard E Grant). Grant is perfect for the role of Sir Andrew through his physical appearance and general demeanour on screen portraying the deluded Knight. All the cast fit their roles well and all take their characters on a journey throughout the film.

The fictitious Ilyria is divine as are all the locations used in this film with much emphasis being put on the landscape. In terms of plot, this film keeps all the major strands from the romantic plots to the comic plots and the plots of mistaken identity. Despite the film being an edited version of the play, viewers can fully understand the play as a whole having watched this film.

If you crave for a decent Shakespearean adaptation then look no further than this offering from Trevor Nunn.
Terrific film BUT ... (tough love ahead)
You can't go wrong with Shakespeare's best romantic comedy, Twelfth Night. Handled by a near-perfect ensemble, these laughable winners and losers toil in mistaken identity and unrequited love, with touching results. However...

The pacing suffers from too much subplot, while the dark look doesn't fully illuminate the comedy. Even stranger, why is the film's most lovable character utterly humiliated right after the big heart-warming finale? What purpose does this serve, other than to interrupt our emotional high?

The problem is that few films have the magic of Zefferelli's Romeo and Juliet, Olivier's Hamlet, and Branagh's Much Ado About Nothing. With flawless drama, impeccable scenery, and enchanting music, each of these films created its own world. The stamp of a great movie is that you can't see it done any other way.

This version of Twelfth Night, like the recent Merchant of Venice, is a solid movie that you will enjoy, maybe even love. But while some performances reach for the stars (I can't picture another Olivia or Malvolio) I just wish rest of the film did as well. I wanted spellbinding photography, sweeter music, deeper emotions (that's you Orsino), and bigger laughs. If you're going to do a classic, then mine it for all its worth.
📹 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. 📀