 | Titus Starring: Anthony Hopkins and Jessica Lange |
Julie Taymor, the hottest name on New York's theater scene, has made an ambitious and at times, impressive debut as a film director with one of William Shakespeare's earliest and most bloody plays. The two time Tony winner, Julie Taymor, is best known for her brilliant stage direction of The Lion King. Taymor chose this violent and shocking play because, to paraphrase her words, "The violence and revenge is applicable and meaningful in today's world". Before I continue, a few words about Shakespeare and film. Every year, it seems that someone attempts to put a Shakespeare play on the big screen. Most of these attempts fail. A few win awards (more for the attempt than the end product). When I see Shakespeare in a theater I am usually mesmerized with the beauty and power of his words and the significance of his stories. But for some reason, Billy just doesn't cut it at your local Cineplex. I can count on one hand the Shakespeare films that have impressed me. Why? Why doesn't the magic transfer to the film medium? OK! Here are a few thoughts to ponder. People who know a lot about Shakespeare attempt a film with little or no knowledge of film. Often times, it's the other way around. Seldom do we find a unique talent that clearly understands both subjects. A thought on Shakespeare: Shakespeare DOES NOT write tragedies! He writes melodramas! The late Orson Welles made those statements years ago. Many may have problems with Welles but few could argue his command of both Shakespeare and film. It's the melodrama and the characters within the drama we connect to. The language exists to propel and punctuate the story. Welles was never afraid to edit, rearrange, or, when necessary, rewrite the Bard to strengthen the power of the play whether on the stage or in film. This, of course, was a sacrilege to most "classicists". This, of course, is why two of the most memorable films of Shakespeare, "MacBeth" (restored) and "Othello" were done by Orson Welles. Flawed as these two films were, mainly because of lack of money, no one needed to be a student of Shakespeare to enjoy the dark visual dimensions of these films. Again, in "Chimes at Midnight," he borrowed bits of three or four plays by Shakespeare to successfully maintain a consistent narrative about the profound relationship between Falstaff and Prince Hal. This too was flawed for lack of money yet one did not need to be a fan of Shakespeare to enjoy the movie. As a film, it was brilliant and the essence of Shakespeare's original concept was present. In1995, actor Ian McKellan wrote a one hour and 44 minute screenplay of "Richard III". Along with the exciting direction of Richard Loncrane and the Cinematography of Peter Bizou, he produced a minor masterpiece by bringing the tale into the 1930's with Nazi undertones. McKellan not only tightly edited the play but never lost sight of the fact that Shakespeare, even in his darkest plays, injected a touch of humor. McKellan as Richard III was not afraid to look into the camera and with a smiling wink, let the viewer in on his next vile murder. You have to like a psychotic sociopath like that! Lastly, let's not forget the best Shakespeare film of all time, "Throne of Blood" (MacBeth) by Akira Kurosawa. He captured the dark underside of murderous ambition with nary a word of Shakespeare in the film! This all brings us to the three-hour film, "Titus Andronicus." Young Shakespeare wrote this brutally savage play in his early years and his lack of experience shows. Titus (Hopkins) is a victorious Roman general returning from a triumphant victory over the Goths. As captors, he brings to Rome Tamora, Queen of the Goths, (Lange) her three sons and Aaron, the Moor (her lover). Against Tamora's pleas for mercy he, according to Roman ritual, disembowels her eldest son and turns his innards into Menudo stew. To make a long story short, the emperor frees the Goth Queen, her two remaining sons and her lover. In fact, the emperor of Rome is so taken by this queen, he marries her. For the next three hours we are in the middle of bloody back and forth revenge between Titus and Tamora. Tamora plots to have the emperor's brother murdered and the murder blamed on two of Titus' sons. She also has his daughter raped, hands and tongue cut off and left tied to a tree. The sons are beheaded and their heads are sent to Titus in a Jar (This is just the first hour of the film). Titus eventually goes a bit mad but has the last word by serving Tamora a tasty puff pastry stuffed with the remains of her sons. Taymor tells this story with a stunning effect of bending time; ancient Rome blended with Mussolini's Italy. This time warp is visually effective with chariots and tanks crossing each other's paths as Rome slowly crumbles. While Titus slowly loses power his uniform of armor changes to corduroys and a cardigan and eventually turns into a modern chef's coat. The mise-en-scenes are, at times, remarkable. Hopkins plays Titus with sweeping power and it almost works. Lange gets better as her scheming becomes more evil. Harry Lennix as the Moor is terrific. There is no question that Taymor has a unique talent and vision. This film should have worked with some judicious editing of Shakespeare's words. At times they are powerful yet all too often rather mundane. Taymor should have trusted her creative visual style rather than adhere strictly to the text. Young Shakespeare's characters are mere sketches of more complex players to come in his future plays (i.e. Yago, Lady Mac Beth, and Richard III). It's rather difficult to get involved with these people. I would recommend seeing the film for Taymor's visuals but I must warn that it's unnecessarily long and not for weak stomachs. I would advise you to stay away from the concession stand before the film. I look forward to Taymor's future film work. If she chooses to have another go at Shakespeare, she might try a better play. I understand Billy has more than a few good ones. |