It’s May and a Friday, which means a new early (really early) summer blockbuster is being released. A couple of weeks back, it was the latest Guardians of the Galaxy flick. Today, something a little different: the 1913 silent film version of Cymbeline!
OK, so it’s not a theatrical release…but it’s our play under discussion, so just go with me, willya?
OK, so last night, I hopped in the car and headed down to my old stomping grounds at UCLA to catch the National Theatre Live cinema broadcast of the recent production of Twelfth Night, from the Olivier Theatre in London, with Tamsin Greig as Malvolia. And yes, that’s Malvolia.
We interrupt our Monday Shakespeare discussion for this (sorta Shakespeare-related) spiel. Friday night, I got to combine two of my favorite things: Shakespeare (duh), and film noir.
I’m a huge film noir fan, and in southern California, your best bet to catch some of ’em in the act is to head on down to the Egyptian Theatre in Hollywood, run by the American Cinematheque, around start of spring for their annual noir-fest. Called Noir City (the link is for the main festival held in San Francisco), and brought to you by the folks over at Film Noir Foundation, it’s a multi-day series of double features. This year, their 19th, they’ve programmed it a little differently: each night covers one year, and has an A-picture, followed by a B-movie.
In 1983, as part of the sixth and penultimate season of their Complete Works of Shakespeare series, the BBC filmed Coriolanus. Elijah Moshinsky, who had earlier directed All’s Well That End’s Well, A Midsummer Night’s Dream, and (and our next play) Cymbeline, and would help one of the final installments, Love’s Labor’s Lost, was in the director’s chair for this one.
[note: yesterday, I reviewed this same filmed version of Coriolanus…but for my Masters course, I had to write a review of a Shakespeare film and I picked this one…you’ll find some overlaps, but a slightly different leaning]
In 2011, actor Ralph Fiennes made his film directorial debut with a theatrical release of Shakespeare’s rarely filmed play, Coriolanus. Noted for both stage and screen performances himself, Fiennes was able to secure major on-screen talent (including Gerard Butler, Vanessa Redgrave, Jessica Chastain, and Brian Cox) to support him in this endeavor. The result is a visceral and accessible, visually striking work.
In 2011, Ralph Fiennes made his cinematic directorial debut with Coriolanus, for BBC Films. Here, he reprises a role he had played under the direction of Jonathan Kent at the Almeida Theater in London a decade earlier.
It’s Friday, so welcome to the sixth (and final!) film in our six-week Friday Film Focus on Antony and Cleopatra. Each week, I’ve presented a capsule review of an A&C video, with full reviews coming in Sunday’s podcast.
In 1972, Charlton Heston directed a film of the play, starring himself as Antony and Hildegarde Neil as Cleopatra.
It’s Friday, so welcome to the fifth film in our six-week Friday Film Focus on Antony and Cleopatra. Each week, I’m presenting a capsule review of an A&C video, with full reviews coming in a future podcast.
In 2014, Shakespeare’s Globe in London presented a production of the play, directed by Jonathan Munby, with Clive Wood as Antony and Eve Best as Cleopatra.
It’s Friday, so welcome to the fourth film in our six-week Friday Film Focus on Antony and Cleopatra. Each week, I’ll present a capsule review of an A&C video, with full reviews coming in a future podcast.
In 1972, the Royal Shakespeare Company mounted a production of Antony and Cleopatra directed by Trevor Nunn, with Richard Johnson and Janet Suzman in the lead roles. Two years later, television director Jon Scoffield adapted that production for television.