Branagh's Shakespeare Films

With the long-delayed DVD release of Branagh’s 1996 film of HAMLET and the premiere of AS YOU LIKE IT on HBO upon us, I decided to take a look back at the Shakespearean films of today’s Laurence Olivier. Following each of his five Shakespeare films in order brought forth some interesting connections; the star-studded casting (that had a wide variety of end results), the extended takes and the desire to make Shakespeare accessible to anyone and everyone.

Branagh first exploded onto the cinematic scene with 1989’s HENRY V. He had the largest of shoes to fill: the only other film version of HENRY V was the directorial debut of none other than Laurence Olivier in 1944. Yet this film is a tour de force, a tremendous accomplishment for the young Branagh and company, many of which will be seen in his following films. He mixes the beauty of the language with the violence and grittiness reminiscent of other historical epics of the time. Most impressive is the astounding Battle of Agincourt and the scenes that immediately follow, proving to all Shakespeare haters how exciting he can really be. The sequence of collecting the dead, one long tracking shot set to Patrick Doyle’s glorious music, is jaw-dropping spine-tingling brilliance. With HENRY V, Branagh made his biggest breakthrough, paying tribute to those who came before him while reigniting Shakespeare on film for a whole new generation.

He followed his triumphant debut with MUCH ADO ABOUT NOTHING in 1993, the first notable screen adaptation of one of Shakespeare’s most popular comedies. This film is easily his most enjoyable; light, breezy and featuring stunning photography depicting the Italian countryside. However, the first of Branagh’s brushes with odd stunt-casting sticks out like a sore thumb: Keanu Reeves is typically terrible as the villainous Don John. Branagh filled this film with a few other unlikely faces, including Denzel Washington and Michael Keaton, but Reeves’s flat characterization and apparent lack of interest stop the film dead whenever he appears. The rest of the cast fares well, with Emma Thompson giving one of her greatest performances. Her chemistry with Branagh is undeniable and their comedic skills have never been sharper.

Branagh’s most ambitious project was clearly 1996’s HAMLET, the first (and only) unedited adaptation of the play. Clocking in at four hours and two minutes, the film is certainly epic, yet every minute is well spent. Never has Branagh’s desire to make Shakespeare more accessible been more apparent; the film is filled with sudden flashes of violence and sex, breaking the silence of the film at a moment’s notice. As the titular character, Branagh plays him to the hilt; no longer is Hamlet quiet and brooding, but loud, angry and inches away from a breakdown. At times he teeters dangerously toward overacting, and his screaming monologues may turn off some, he remains effective in the role. He surrounds himself with the finest actors around; Derek Jacobi, Julie Christie and Kate Winslet all give stunning performances, giving solid reason why the play should go unedited. Again, there are the curious cameos, Jack Lemmon and Robin Williams are the most out of place, and if you blink in the wrong spot you’ll miss Judi Dench, but the likes of Billy Crystal and Charlton Heston are surprisingly effective. The film has an epic scope not seen since. Viewing the mirrored halls of Elsinore or the snow-covered hills of Denmark are reason alone to see this stunning film.

From 2000, LOVE’S LABOUR’S LOST is nothing more than a pleasant misfire. Taking one of Shakespeare’s lesser known plays, Branagh tries to mold it into a musical comedy, inserting classic songs from the 30s and 40s, performed with varying levels of success by the cast. Again Branagh misfires when it comes to stunt casting: the presence of Alicia Silverstone is off-putting and, while certainly beautiful enough for her character, she doesn’t quite seem to understand what she’s saying. The film would be ably forgettable if it were not for Natasha McElhone, whose unusual beauty and intelligence make her a dynamically strong love interest for Branagh, who is a few years too old to be best buds with the likes of Matthew Lillard.

Finally, Branagh returned to the world of Shakespeare this year with AS YOU LIKE IT, a pleasant but rather by-the-numbers adaptation. Transposing the setting to imperial Japan, the look of the film is gorgeous (from the thick forest of Arden to the delicate, intricate kimonos worn by the cast), but offers little in terms of plot. For the first time, Branagh is nowhere to be seen, but the cast performs the material well. Alfred Molina is the stand out as Touchstone, reveling in his role of the fool. Romola Garai and Bryce Dallas Howard are both radiant and likable as Celia and Rosalind, with Garai in particular shining during the film’s lighter moments. Only Kevin Kline seems out of place, curiously enough. Though the nature of Jacques would seem to call for it, Kline seems uninterested and offers nothing new. While it does not reach the heights of his first three adaptations, AS YOU LIKE IT still proves that Branagh is the master when it comes to Shakespeare.

HENRY V: ****
MUCH ADO ABOUT NOTHING: ***1/2
HAMLET: ****
LOVE’S LABOUR’S LOST: **
AS YOU LIKE IT: ***