Marc Norman and veteran Shakespeare plunderer Tom Stoppard co-wrote the screenplay for this film—a delightful, well-drawn comedy that imagines how a star-crossed romance might have aided a young William Shakespeare in penning "Romeo and Juliet" and "Twelfth Night," and in becoming a serious dramatist.

In England during the 1590s, the two major theatre companies are the Curtain, the robust outfit that employs star actor Richard Burbage and beloved writer Christopher Marlowe, and the Rose, the struggling company that features young Will Shakespeare. The two companies battle for the attention of groundlings while trying to avoid the wrath of the Master of Revels, Tilney (Simon Callow), an appointee of the crown who can shut down any stage on a whim. The Rose impresario, Philip Henslowe (Geoffrey Rush), is under an additional pressure: He is being leaned on by Hugh Fennyman (Tom Wilkinson), a moneylender who is literally holding Henslowe's feet to the fire in effort to recoup some debts owed. Henslowe has a solution, though. He and Fennyman will become partners in the Curtain's next production, Will Shakespeare's comedy, "Romeo and Ethel, the Pirate's Daughter." The only problem is that Shakespeare (Joseph Fiennes) has yet to write the play, and even after some words of encouragement in a tavern from his rival Marlowe (Rupert Everett), the playwright is battling a major case of writer's block.

Enter a much-needed muse: the headstrong beauty, Viola De Lesseps (Gwyneth Paltrow), a sheltered lady who is reluctantly on the verge of an arranged marriage to Virginia tobacconist, Lord Wessex (Colin Firth). Viola, desperate to be an actor in a time when women are not allowed on stage, dons a man's garb and wig and recreates herself as her own cousin, the thespian Tom Kent. Kent soon earns the role of Romeo and, as her fairer self, enters into a star-crossed affair with Will, giving the Bard inspiration to finish penning the great work, "Romeo and Juliet." Mistaken identities, angry lovers, egotistical actors, and financial problems begin to mount as both the lovers' union and the burgeoning stage production veer from tragedy to comedy and back again.

Joseph (let's hope it's not pronounced "Jayf") Fiennes isn't an obvious choice for the embodiment of young Shakespeare, but he and Paltrow acquit themselves quite well in the roles of conflicted artist and muse. It's John Madden's well-paced direction and the spirited supporting cast, however, that makes this film special. Judi Dench is masterful as the ancient, iron-fisted Queen Elizabeth, looking positively embalmed, showing off the grossest teeth since Willem Dafoe in David Lynch's "Wild at Heart." Colin Firth is just right as the perplexed husband-to-be (or not to be), and Wilkinson is equally on target as the moneybags who comes to learn that art can't always be measured by the pound. Given Shakespearean staples to play with—cross-dressing, mistaken identities, sword fights, beautiful couplets—the actors revel in their roles.

While more clever than profound in its commentary on romance, writing, and theater, "Shakespeare in Love" manages to breeze along merrily with sharp wit and deft turns. While all may not end well for Will and Viola, this film succeeds quite well.