William Shakespeare | Love's Labour's Lost (2000)
Using his previous success formula of an international cast, Kenneth Branagh filmed a project that he had wanted to do for a very long time: a 1930s treatment of Love's Labour's Lost. Unfortunately, in the age of MTV and VH1, this film is an abysmal failure that can be attributed to several factors. Because of budget limitations, the setting for the film was an indoor set which lack any sense of reality. This may have been Branagh's intent, but to a modern audience is visually unappealing. In addition, Love's Labour's Lost, while a favourite of Branagh's, is a relatively unknown play. As usual, Branagh works long and hard to make the text clear, but the songs he chose for his characters to sing and dance to do not generate from the text, and therefore, seem to be spliced in for no valid reason. Although Adrian Lester and Nathan Lane shine in their roles as Dumaine and Costard, it is at the expense of their fellow actors. It may have been a good idea to give this particular play the 1930s treatment, but it would have been a better idea to cast more song and dance performers like Lester and Lane in the roles. Alicia Silverstone (Clueless) is annoying at best. Branagh cannot dance or sing and looks to be too old for the role of Berowne, the young lover who reluctantly joins the King in giving up women for study. As the pact dissolves on the arrival of the Princess into a courting frenzy, there are some funny moments, but these are not sufficient to carry the film. These dancers are not Fred Astaire and Ginger Rogers, and no matter how they try, they cannot come close. At the end of the play, there is the pageant of the Nine Worthies, and the happy ending is left in question. Here, the entertainment is interrupted by a modern dance sequence that is very out-of-place. And it doesn't end the film. The men go off to meet the challenges set to them by the women, the audience sees those challenges and their completion, and the couples are re-united, presumably to live happily ever after. Whereas the play leaves it to the audience to ponder what will happen, Branagh leaves no room for doubt, and in this, he does the audience a disservice. - J.R. Costa
Cast: Berowne: Kenneth Branagh; The King: Alessandro Nivola; The Princess: Alicia Silverstone; Rosaline: Natascha McElhone; Longaville: Matthew Lillard; Dumaine: Adrian Lester; Don Armado: Timothy Spall; Costard: Nathan Lane; Jacquenetta: Stefania Rocca; Boyet: Richard Clifford; Katherine: Emily Mortimer; Maria: Carmen Ejogo; Moth: Tony O'Donnell; Holofernia: Geraldine McEwan; Nathaniel: Richard Briers; Dull: Jimmy Yuill; Mercade: Daniel Hill; Gaston: Alfred Bell; Isabelle: Daisy Gough; Eugene: Graham Hubbard; Jaques: Paul Moody; Beatrice: Yvonne Reilly; Hippolyte: Iain Stuart Robertson; Celimen: Emma Scott; Sophie: Amy Tez; Dancers: Nikki Abraham, Colin Barrett, Jonathan Blazer, Catherine Dugdale, Michele Du Verney, Richard Joseph, Trudi Swift; Bryn Walters.
Director: Kenneth Branagh; Writers; Kenneth Branagh, William Shakespeare; Producers: David Barron, Kenneth Branagh, Andrea Calderwood, Guy East, Alexis Lloyd, Rick Schwartz, Nigel Sinclair, Bob Weinstein, Harvey Weinstein; Production Companies: Arts Council of England, Pathè Pictures, Shakespeare Film Company Intermedia Films, Le Studio Canal+ (FR), Miramax Films.
Colour. Runtime: 93 mins.
