Twelfth Night [VHS] [1996]

Imogen Stubbs is a delightful (and plausibly male) Viola, disguised as Cesario, who must act as a go-between for Orsino (an incredibly handsome Toby Stephens) and Olivia (Helena Bonham-Carter, who looks as if she has stepped out of a pre-Raphaelite painting). The scenes between Viola and Orsino, as she is falling in love with him and he is most definitely attracted to his young "man" and emissary, are fraught with an almost palpable sexual tension, which Nunn's direction nevertheless conveys with subtle artistry (A similar dynamic may well have been present in the original production when the audience knew that a boy was playing the part of a girl playing the part of a boy.). Viola and her twin brother Sebastian look reasonably enough alike so that the audience can easily suspend its disbelief and, along with the characters, enjoy the confusion about "Which one is Sebastian?."

The production is reinforced by an ensemble cast. Nigel Hawthorne's pompous yet vulnerable Malvolio has the viewer laughing at one moment and crying at the next. The cruel pranks of Maria (Imelda Staunton), Sir Toby Belch (Mel Smith), Sir Andrew Aguecheek (Richard E. Grant) and Feste, the clown, bring Malvolio deservedly low, but as he leaves the household and his tormenters forever, the audience realizes that the comic conspirators may have humiliated him, but they have not robbed him of his dignity. Malvolio's exit is followed by the departure of the brooding Feste, who, "with a hey, ho, and the wind and the rain," strolls along the edge of a cliff above the shore. As he gazes out over the restless sea, he seems to be seeing beyond the play's comic narrative frame into the reality of a future that is ineffably dark.

Nunn's "Twelfth Night" is fast-moving and suspenseful, even if one has seen the play dozens of times. There are so many delightful moments that it is difficult to single one out, but the duel in the orchard between the terrified Viola and the equally frantic Sir Andrew is hysterically funny. The Cornish settings make for a stunning "Illyria." And since the audience is readily transported to that fantastic country, the pre-Raphaelite / Ruritanian costumes and settings do not spoil the illusion.

The major character is Viola, who after losing her twin brother (played by Stephen Mackintosh very convincingly), is forced to disguise herself as a boy to survive in a strange and hostile land (namely Illyria which is at war with her home county, Messaline). The introductory scenes (not included in the drama) showing how brother and sister, sharing a strong bond of affection, lose each other, how dangerous it is for a citizen of Messaline to set foot in Illiyra and how Viola is transformed into a boy give the story a very good frame. The scenes where Viola is being transformed are great, showing how sensitive this girl is, how difficult it is for her to pretend, yet she musters all her courage to hide her pain over the supposed death of her brother. But struggles are not over as she also has to hide her passionate love from Orsino, the Duke of Illyira whom she serves.

Her position is twofold difficult: she soon becomes Orsino's confident, they get really close to each other so she finds more and more difficult to hide her feelings from him; but to ease Orsino's sufferings, she undertakes to act as a "courier" for pursuing his hopeless love, the Countess Olivia.
Then comes another Shakespearean turn of the screw: Olivia, who won't hear of Orsino's passion, falls for Cesario/Viola. In the meantime, Sebastian, thinking her beloved sister, Viola is dead, sets for Illyria as well ...

As it is a comedy all things messed up will sort themselves out at the end, however, this is not a light comedy, the shadow of the tragic is hovering over the whole drama shaped in one of the subplots. The whole film seems to balance at the very narrow edge of tragedy and comedy all the time despite the many hilarious moments.

The most wonderful scenes are the ones of Cesario/Viola and the Duke Orsino (a very sexy Toby Stephens)being together. Nunn is actually showing the emotional and subtle sexual attraction the Duke feels for his "manservant". Absolutely brilliant!
Imogen Stubbs personificates Viola superbly: an upright woman, who, despite the disguise she is forced to wear, is the most honest of all, especially compared to the characters of Orsino and Oliva, both of whom are deluding themselves by imaginary feelings.

The whole cast is wonderful from Helena Bonham-Carter to Ben Kingsley. Music and costume all fit in amazingly with the whole atmosphere of the drama.