Write what you know". That is the mantra of every writer. Instead of struggling to create tales that are foreign to one's personal experiences, writers seem to do their best work when pulling from real life events that have affected or influenced them in some way.
This literary axiom is applied to none other than the Bard himself in the beautifully inspired Shakespeare In Love. This fictional tale does honor to the spirit of Shakespeare while making his work accessible to a modern audience. With an ingenious story structure, captivating performances, and assured direction, Shakespeare in Love is one of the year’s greatest triumphs.
Set in the latter 1590s, Shakespeare in Love takes great historical liberties as it depicts the behind-the-scenes goings on of the very first production of the greatest love story ever told, Romeo & Juliet. William Shakespeare (Joseph Fiennes) is suffering from a severe case of writer’s block as he can find no inspiration for his work. Under pressure from theater owner Philip Henslowe (Geoffrey Rush), Shakespeare essentially concocts a premise involving comedy and pirates that is tentatively titled Romeo and Ethel, the Pirate’s Daughter. This plot is simply a ruse used by Shakespeare to stall for time until he is actually able to come up with something.
But as in any great Shakespearean love story, the beauty of a fair maiden enraptures our leading man. She is Viola De Lesseps (Gwyneth Paltrow). As a daughter of wealthy parents from the merchant class, Viola is of a higher social status than Shakespeare.
But unlike her societal peers, Viola does not look down upon the theater as trivial and common. Her passionate spirit is drawn to Shakespeare’s, as is his drawn to hers. This love affair, played out with soft tenderness and youthful exuberance, sparks the creative flow within Shakespeare. All great artists need a muse: for Shakespeare, it is Viola.
A familiar artistic criticism thwarted at various productions over the centuries has been this: "Well, it may be good, but it isn’t Shakespeare." But the script by Marc Norman and Tom Stoppard—well, it is just that. And therein lies the genius of this film. This story plays out just like a work by William Shakespeare. Norman and Stoppard (Rosencrantz and Guildenstern are Dead) have constructed a brilliant screenplay that mirrors Shakespeare’s structure, literary style, and characters. All of the classic Shakespearean elements are there: swordplay, forbidden love, mistaken identities, gender disguises, dry verbal barbs and rapier wit. The standard characters are also present: the two lovers, a jealous foil, wise counselors, comedic supporting players, and even a nurse!
One Shakespearean staple that is used extremely well is that of the double meaning. Many lines of dialogue in Shakespeare in Love possess a deeper intention than that of their surface value. As two characters speak publicly, bystanders are oblivious to the "real" conversation taking place. This literary subtext is delivered perfectly as actors utilize sly smirks and subtle but strong conviction.
We also see events and hear dialogue that have a familiar ring to them. From passer-by throwaways, to situational interplay, to actual people and characters, Norman and Stoppard have peppered this story with moments that would eventually make their way into Shakespeare’s work. The continuous use of this device is yet another shining example of the jubilant reverence with which this film is made.
All of these elements collaborate together to communicate one central theme: beautiful art rises from the wellspring of love. Or more simply, beauty begets beauty. The story for Shakespeare in Love is nothing short of perfection. Norman and Stoppard’s script is the year’s best screenplay.
The stellar cast pulls this production off with joyful energy and sincere passion. Joseph Fiennes, seen recently in the critically praised Elizabeth, continues to impress. His turn as William Shakespeare is intensely comedic and purposefully dramatic. It is a nice balance of emotional levels that segue naturally between each other. Instead of the historical literary icon, Fiennes's Shakespeare is nothing more than a struggling artist who must deal with deadlines, bills, producers, writer’s block and contemporary rivals. He is not as assured as one might think, making Shakespeare more human and relatable. Joseph, brother of Ralph Fiennes (The English Patient) shows his vast acting range in this performance. You could say that he’s Ralph—with a personality.
The supporting cast is arguably the year’s best. Once again, Geoffrey Rush (Oscar winner for Shine) simply amazes. After a restrained, dark performance in Elizabeth, Rush delivers a manicly comic performance and virtually steals every scene he is in. His Philip Henslowe, owner of The Rose theatre, is the Elizabethan equivalent of a modern day studio head. If he had his way, Romeo & Juliet would have been a comic farce. Art is not his concern—it’s box office and audience appeal. With lines like "Love—and angry dogs. That’s what people want", Rush’s Henslowe elicits well-earned guffaws. Tom Wilkinson’s (The Full Monty) Fennyman is a ridiculously comic character with an enjoyable arch. Going from greedy debt-collector to stage-struck softy, Fennyman becomes the first person to be moved by the greatness of Shakespeare’s work.
Ben Affleck surprises with a good English accent as the famed actor Ned Alleyn. His down-to-earth honesty is a nice balance to the chaotic goings-on. Judi Dench commands the screen with her Oscar winning turn as Queen Elizabeth I. With restrained but powerful authority, Dench’s Elizabeth delivers some of the films best verbal jabs as well as giving the story a sense of dignity and wisdom. Colin Firth also finds the right note in his portrayal of the vain and conceited Earl of Wessex.
But the shining jewel of this cast is Gwyneth Paltrow. Consistently one of film’s best actresses, Paltrow delivers the best performance of her career as the lovesick Viola. She is a very sensory, passionate woman who is enamored with the theater. It is Viola’s heart that guides her, as she pursues her desires and enchanted dreams to great lengths. Viola, simply put, is a woman who is in love with the idea of love; she is a true romantic.
As Viola, Gwyneth Paltrow is luminous. She is a commanding screen presence whose striking good looks are outdone only by her radiant inner beauty. Paltrow's Oscar win for this performance was wholly deserved; she is one of the screen's best actresses and this is the best performance of her young career.
Technical credits are superb across the board. Martin Childs’s (Mrs. Brown, The Portrait of a Lady) Production Design is detailed, gritty, as well as beautiful. The same can essentially be said of the vast array of costumes designed by Sandy Powell (Orlando). Cinematographer Richard Greatrex (Mrs. Brown) creates sumptuous imagery that is both sweeping and intimate. The score by Stephen Warbeck (director John Madden’s composer of choice) is beautiful and elegant. Those familiar to his work on Mrs. Brown will recognize a familiar arrangement style to his original compositions.
John Madden is probably the most under-appreciated director working today. His deeply moving and emotionally powerful Mrs. Brown was one of the absolute best films of 1997. Once again, Madden has sculpted a cinematic treasure with Shakespeare in Love. Madden is a master when it comes to emotional levels. With assured guidance of his actors and perfectly paced scenes, Madden has given us a film with boundless energy, wickedly smart humor, and deep heartfelt passion.
Any and all recognition afforded to Mr. Madden for his work on this film is duly warranted. His Shakespeare in Love is as loving and respectful a tribute to Shakespeare as there ever could be. Gus Van Sant, take note—this is how you pay homage to a master.
Throughout this wild ride, we are shown the vast range of Shakespeare. The Bard is famous for comedy, romance and tragedy: Shakespeare in Love has all three. In doing so, this film not only shows the wit, humor and charm of Shakespeare, but by the film’s engrossing conclusion, we are profoundly moved by the power of Shakespeare. Everything that he was can be found in the heart and spirit of Shakespeare in Love.
A film that is the essence of Shakespeare—now that is a miraculous feat indeed.
