The cross-dressing works well (a woman pretending to be a man is romanced onstage by a man pretending to be a woman), but when Will discovers her secret, the two embark on a forbidden coupling made all the riskier by the threat of exposure. Viola, however, yearns to be an actress, and her passion leads her to masquerade as a man to fulfill her dream. The men donned dresses to play female parts, and the feisty audiences of the day bought into the illusion.
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Elizabethan theater was an all-male fraternity in the late 16th century, and women were persona non grata. The plot sounds simple, but conflicts galore add captivating complexities. The only problem? Will (Joseph Fiennes) is married, and Viola, by mandate of the queen, is affianced to wed the broke Lord Wessex (Colin Firth), a slimy rascal who's banking on his bride's substantial dowry to revitalize his fortunes. Those of us who write can relate to his desperation, but few of us (damn it!) raise our glance and find someone like Viola (Gwenyth Paltrow) waiting to be whisked off her feet and into bed. 'Shakespeare in Love' presents its title character not as a stuffy, erudite, and arrogant wordsmith, but rather as a hot-blooded neurotic frantically seeking a muse to combat his crippling writer's block. Yet it's easy to see why the Academy was swept away. As I watched it recently, I appreciated all the style, wit, and passion, but little about 'Shakespeare in Love' screamed Best Picture, and I couldn't help but think Oscar's accolades resulted from a feverish yet fleeting infatuation, not a steadfast commitment.
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The movie holds up well today, but like many Oscar choices, its golden aura has tarnished a bit over the years. At the time, John Madden's film was a surprising yet popular choice, a literate, sophisticated, but completely accessible feel-good comedy bursting with color, pageantry, and a whimsical regality that seduced audiences and critics alike. It’s a mystery.Oh, the fickle ways of Oscar! Back in 1998, a trio of acclaimed World War II films vied for Tinseltown's highest honor, but the Academy shunned the stark realism and visceral power of 'Saving Private Ryan' and instead fell in love with 'Shakespeare in Love,' a wildly romantic, deftly constructed, and amusing romp set in the Elizabethan era. Henslowe explains how a play in production is invariably a disaster heading for utter ruin, but somehow it all works out in the end.
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Full of life and joy, Shakespeare in Love is a delightful romp of the highest order. It’s romantic, and it’s uproariously funny (it even has a bit with a dog). Like love itself, this is a film that should be enjoyed and savored, not analyzed and picked over. If there’s any serious theme to be found in Shakespeare in Love, it’s one similar to 1998’s Titanic: the idea that love can inspire, even when it’s lost, that it’s possible to go on and make the experience mean something in your life.īut it’s not necessary to search for deeper meanings.
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Actors are arrogant and writers get no respect - when someone at a rehearsal asks who Will is, Henslowe replies, “Nobody - he’s the author.” Will and Henslowe sit through painfully inept auditions roles go to people Henslowe owes money to, no matter how dreadful they are. Henslowe owes Will money for his last play, One Gentleman of Verona (perhaps it’s the sequel, Two Gentlemen of Verona, that has come down to us).
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In the background in Will’s house is a souvenir mug from Stratford on Avon Will visits a sixteenth-century shrink who times his sessions with an hourglass. The film’s humor ranges from the wonderfully intellectual to snarky movie and theater in-jokes, from sight gags to rapid-fire, reference-laden dialogue. She becomes his muse, inspiring perhaps the greatest of his plays, Romeo and Juliet - Will and Viola even have their own balcony scene, though a decidedly more comic one that the play’s lovers get. But “I will have poetry in my life,” Viola insists, “and adventure, and love, love, love above all.” So, disguised as a boy, she auditions for a new play by Will Shakespeare (Joseph Fiennes), “a writer of plays that capture my heart,” swoons Viola. In fair London, where we lay our scene, beautiful and rich Viola De Lesseps (Gwyneth Paltrow) dreams only of the theater in a time when women are forbidden to take the stage.
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A bit of romance, a bit of comedy - isn’t that really all that movie audiences, too, are after? Shakespeare in Love has both in spades, and it’s the first film of its kind to win Best Picture since 1977’s Annie Hall. “Love and a bit with a dog,” that’s all audiences want, according to Philip Henslowe (Geoffrey Rush), owner of London’s Rose Theater.