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Twelfth Night 1996
Description: Shakespeare's comedy of gender confusion, in which a woman disguises herself as a boy to be near the count she adores, only to be pursued by the girl he loves.
Released: 25 Oct 1996 Director: Trevor Nunn Writers: William Shakespeare (by), Trevor Nunn (screenplay) Actors: Imogen Stubbs, Steven Mackintosh, Nicholas Farrell, Sidney Livingstone Genres: Comedy, Drama, Romance
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See Twelfth Night or What You Will on youtube.

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See Twelfth Night or What You Will on youtube.

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See Twelfth night | Viola and Oliv on youtube.

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See Twelfth Night (1996) - O Mistr on youtube.

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See Twelfth Night Extract on youtube.

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See Twelfth Night (Shakespeare). on youtube.

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See Twelfth Night | Viola meets Ol on youtube.

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See Twelfth night | I am the man s on youtube.

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See Twelfth Night on youtube.

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See Twelfth Night: Feste Returns on youtube.

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Twelfth Night Reviews:

Trevor Nunn's beautifully photographed and acted, deftly written movie is one of the most enjoyable adaptations of a Shakespeare enjoy ever made. Helena Bonham Carter is pitch excellent as the pretty Olivia, who in "deep mourning" for her dead brother, falls in love with Cesario (who happens to be a girl called Viola dressed up as a man, wonderfully played by Imogen Stubbs, the only actress I've ever seen able to make both a charming Viola and a fully believable Cesario), meanwhile Viola falls for the Duke of fictional Illyria (the exquisite Toby Stephens) who is desperately in love with the Lady Olivia. Meanwhile, Viola's lost twin brother (Steven Mackintosh of "Gentlemen Don't Eat Poets", perfect again here) winds up in Illyria and adds to the confusion. Wonderful, layered help comes from Ben Kingsley testing Feste, Olivia's fool. The only flaw, perhaps, is the several mins before the conclusion when everything seems to be coated with a thick gloss of sugar; the movie comes through this unscathed. Trevor Nunn comes through with an exquisite Shakespeare movie adaptation (which is a do or die task). A nice showcase for the heavenly cast featuring some of the greatest performances ever by Bonham Carter (save "Wings of the Dove"), Kingsley (in his greatest helping turn ever), novice Stubbs, and Stephens. A very worthwhile effort. Rent it, you won't be allow down.


Reading Trevor Nunn's thoughts on his film, it is simple to conclude that they were lucky to receive such sublime weather for the huge duration of the filming, in November. The Cornwall territories are absolutely enchanting; showing an England so far from the urban norm these days. The pretty natural light, with soon dark contrasts, perfectly complements the jovial, winning mood of this Shakespeare comedy brought to screen: and, what is more, this is truly beyond any sense of 'heritage cinema', as Shakespeare's genius is retained.Yes, it is all a very 'accessible' package, but much is unusual and distinctive to this movie adaptation. Ben Kinglsey is perhaps the most glaring instance of a radical re-invisioning; his acting - stripped bare of artifice - is utterly compelling and keeps you watching his each mannerism. This Feste is an eccentric, multi-talented clown and performer, but he also bears words of cutting, melancholy truth. Indeed, both are wonderfully combined with the gorgeously sad stage of Staunton, Grant and Smith listening to his sad song: they listen and the words slash into their veneers. Loneliness is at their very core. What a brilliantly rounded comedy this is; balanced by melancholy - the inch-perfect awry note struck by Hawthorne's Malvolio appearing at the end - and nice will - the comradely bonhomie that Grant and Smith are indeed shown to share.Hawthorne and perhaps more surprisingly Mel Smith and Richard E. Grant really do a fine job and imbuing some true hero in their parts; treading a line between broad comedic testing and human sadness. Along with Kingsley's career-best (? not seen too many of his films) performance, they lend this movie its heart, and enjoy very well vs the unbelievable settings. Mackintosh and Stubbs are I guess a tiny less compelling, but these roles are really hard to carry off... nothing about them really lingers too long in the memory, like Kingsley's expressions, bizarre tiny pieces of dance and his pared-down delivery. Helena Bonham Carter is perhaps overly assured as the vain countess dame, Olivia: oh so archly bemused when faced by the cross-gartered, prancing Hawthorne, but generally Ms. Bonham Carter is very much in her usual, predictably petulant, period-costume mode. Which is probably being unfair; she does convince, at the end of the day.Overall then, a wonderfully colorful delight, bearing the flavour of bright, melancholy late summer-into-autumn. A strange chill is cast by the compelling Kinglsey; a sadness that cannot be dispelled. This movie has light amusement in addition to this true edge, and is ultimately a very affecting rendering of a bona fide Shakesperean classic.


This is, quite simply, the greatest production of a Shakespeare comedy ever filmed. The plot is delightfully absurd, the acting brilliant, the direction superb. It is the sort of comedy you can watch over and over again.



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