William Shakespeare, 1564 to 1616. To 1956. To 1960. To 1968. To 1974.
I suppose I need to apologize in advance for this post, but it is Halloween. Additionally, due to a computer crash (literally, a crash in which the computer took quite a tumble to the floor and has remained inoperable ever since), I've needed to cheer myself up.
Someone recently mentioned the latest craze (which is now well passé, I'm sure): Yearbook Yourself. If you go to that site, you can upload pictures that the site will then modify into yearbook-style pictures from a number of different years! While waiting for the computer repair FAX to go through, I tried it out (using a different computer) with William Shakespeare himself:
Friday, October 31, 2008
Shakespeare Makes a Brief Guest Appearance on Monty Python’s Flying Circus
“Beethoven’s Mynah Bird.” “Archaeology Today.” By Monty Python et al. Perf. Terry Gilliam, John Cleese, Graham Chapman, Terry Jones, Michael Palin, and Eric Idle. Monty Python’s Flying Circus. Episode 21. BBC. 17 November 1970. DVD. New Video, 1999.
Shakespeare makes a minor—really, a transitional—appearance in this Monty Python sketch. In general, the sketch is about the family lives of "Great Men." Beethoven's having trouble with his symphony, Shakespeare had been thinking that "David" was a good name for his Danish Prince character, and Michelangelo has come up with a new name for his latest sculpture:
Links: Monty Python's Official Site.
Shakespeare makes a minor—really, a transitional—appearance in this Monty Python sketch. In general, the sketch is about the family lives of "Great Men." Beethoven's having trouble with his symphony, Shakespeare had been thinking that "David" was a good name for his Danish Prince character, and Michelangelo has come up with a new name for his latest sculpture:
Links: Monty Python's Official Site.
Click below to purchase the film from amazon.com
(and to support Bardfilm as you do so).
(and to support Bardfilm as you do so).
Thursday, October 30, 2008
Measure for Measure: A Fragment Embedded in Monty Python
“The First Underwater Production of Measure for Measure.” “How to Recognize Different Parts of the Body.” By Monty Python et al. Perf. Terry Gilliam, John Cleese, Graham Chapman, Terry Jones, Michael Palin, and Eric Idle. Monty Python’s Flying Circus. Episode 22. BBC. 24 November 1970. DVD. New Video, 1999.
Some time ago, an alert reader asked me about film versions of Measure for Measure—which was the best, which did I recommend, which deviates from the text in interesting ways, et cetera. To these questions, I was able to reply with a confident "The BBC Version. It's the only full version out there." I was aware of two Italian versions, one from 1913 and one from 1943, both entitled Dente per Dente (English translation: Tooth for Tooth) and one German version from 1963 entitled Zweierlei Mass (English translation: Two Different Measures or, according to the German scholar who helped me with the title cards for the silent Hamlet, Twice the Amount). I also mentioned a small fragment in the BBC's Waste of Shame (a portion of the Shakespeare Retold series)—a speech of about twenty lines or so. But, obviously, none of these is a full, English-language version.
But my list wasn't complete. I neglected to consider this astonishing fragment: the first underwater production of Measure for Measure! As presented by Monty Python! Hurrah!
If you listen quite carefully, you can just make out the words. They're delivering a scene from III.i—the one in which Isabella reveals to Claudio what Angelo has asked of her:
Links: Monty Python's Official Site.
Some time ago, an alert reader asked me about film versions of Measure for Measure—which was the best, which did I recommend, which deviates from the text in interesting ways, et cetera. To these questions, I was able to reply with a confident "The BBC Version. It's the only full version out there." I was aware of two Italian versions, one from 1913 and one from 1943, both entitled Dente per Dente (English translation: Tooth for Tooth) and one German version from 1963 entitled Zweierlei Mass (English translation: Two Different Measures or, according to the German scholar who helped me with the title cards for the silent Hamlet, Twice the Amount). I also mentioned a small fragment in the BBC's Waste of Shame (a portion of the Shakespeare Retold series)—a speech of about twenty lines or so. But, obviously, none of these is a full, English-language version.
But my list wasn't complete. I neglected to consider this astonishing fragment: the first underwater production of Measure for Measure! As presented by Monty Python! Hurrah!
If you listen quite carefully, you can just make out the words. They're delivering a scene from III.i—the one in which Isabella reveals to Claudio what Angelo has asked of her:
Monty Python, somewhat surprisingly, has done little with the works of Shakespeare—there's not enough to make a "Shakespeare and Monty Python" week, for example. And what they have done seldom rises to the level of their other work. But there are some small moments that I'll try to pass along to you in time.Isabella: Yes, he would give't thee, from this rank offense,
So to offend him still. This night's the time
That I should do what I abhor to name,
Or else thou diest tomorrow.
Claudio: Thou shalt not do't.
Isabella: O, were it but my life
I'd throw it down for your deliverance
As frankly as a pin.
Claudio: Thanks, dear Isabel.
Isabella: Be ready, Claudio, for your death tomorrow.
Claudio: Yes. Has he affections in him
That thus can make him bite the law by th' nose,
When he would force it? Sure it is no sin,
Or of the deadly seven it is the least. (III.i.99-110)
Links: Monty Python's Official Site.
Click below to purchase the film from amazon.com
(and to support Bardfilm as you do so).
(and to support Bardfilm as you do so).
Tuesday, October 28, 2008
French Historians Square off for a New Battle of Agincourt
Shakespeare, William. Henry V. Ed. T. W. Craik. London: Arden, 1995.
This is a very quick post—a new set of student essays came in yesterday.
An alert reader (thanks, Dad!) pointed out a link to this article about historians' views on the Battle of Agincourt. It's been a few days since St. Crispin's Day (October 25) and a few hundred years since the St. Crispin's Day speech . . . and a few more hundred years since the actual battle! Yet we're still debating who behaved badly (everyone behaves badly in war—even in Shakespeare's version of the war) and just how badly they behaved.
It's been said that the victories write the histories . . . but it helps if Shakespeare is on your side!
Links: The Article.
This is a very quick post—a new set of student essays came in yesterday.
An alert reader (thanks, Dad!) pointed out a link to this article about historians' views on the Battle of Agincourt. It's been a few days since St. Crispin's Day (October 25) and a few hundred years since the St. Crispin's Day speech . . . and a few more hundred years since the actual battle! Yet we're still debating who behaved badly (everyone behaves badly in war—even in Shakespeare's version of the war) and just how badly they behaved.
It's been said that the victories write the histories . . . but it helps if Shakespeare is on your side!
Links: The Article.
Review of a Review filled with Reviews
Leithart, Peter J. “Bardus Absconditus: Shakespeare is the Rorschach Test of English Literature.” Books & Culture September / October 2008: 37+.
Peter J. Leithart's recent article in Books & Culture covers an enormous amount of Shakespearean ground, concluding . . . where else but "Why, here in Denmark." The article opens with a claim that is not unusual: that Shakespeare can be [almost] all things to [almost] all people. But, while reviewing and surveying several contemporary analyses of Shakespeare, the article goes deeper and deeper into the idea.
Finally, after a long section on the variety of Hamlets and Hamlets, Leithart concludes with these words:
Links: The Article in Books & Culture.
Peter J. Leithart's recent article in Books & Culture covers an enormous amount of Shakespearean ground, concluding . . . where else but "Why, here in Denmark." The article opens with a claim that is not unusual: that Shakespeare can be [almost] all things to [almost] all people. But, while reviewing and surveying several contemporary analyses of Shakespeare, the article goes deeper and deeper into the idea.
Finally, after a long section on the variety of Hamlets and Hamlets, Leithart concludes with these words:
Even though it seems anit-climactic, his conclusion is level-headed, pertinent, and prescient itself. We could all do well to read Hamlet in this way.If there is a "message" in Hamlet keyed to the historical moment of its first performances, it seems to me the same message of Shakespeare's other plays: It is a Christian humanist's prescient warning that fanaticism will lead to civil war, the killing of a king, and the triumph of amoral Realpolitik. This is the apocalypse whose outlines Shakespeare could already see at the beginning of a century of revolution, the tragic slather of blood he hoped England might become wise enough to avoid.
Links: The Article in Books & Culture.
Monday, October 27, 2008
Shakespearean Connections Lead to Alternate Soundtrack
A Midsummer Night's Dream. Dir. J. Stuart Blackton and Charles Kent. Perf. William V. Ranous, Maurice Costello, Walter Ackerman, Julia Swayne Gordon, Rose Tapley, Gladys Hulette, Charles Chapman, Helene Costello, and Dolores Costello. Vitagraph Company of America. 1909. Silent Shakespeare. DVD. Image Entertainment, 2000.
Fuchs, Dana, et al. “Dear Prudence.” Across the Universe. Interscope Records, 2007.
Yes, this is something of a stop-gap post, but it does have Shakespearean connections. The primary motive was to get this file off my computer so I have space for other things, but I also was thinking about Across the Universe's director, Julie Taymor. The film is extremely interesting, particularly in how exceptionally visual it is. The images and the music are what drive the film—not the plot (which is more interesting to a Beatles devotee than to the general popualce). In that, it's very much like a silent film! And Julie Taymore also directed Titus, the film version of Titus Andronicus that starred Anthony Hopkins. That film, too, is intensely (perhaps too intensely!) visual.
Fuchs, Dana, et al. “Dear Prudence.” Across the Universe. Interscope Records, 2007.
Yes, this is something of a stop-gap post, but it does have Shakespearean connections. The primary motive was to get this file off my computer so I have space for other things, but I also was thinking about Across the Universe's director, Julie Taymor. The film is extremely interesting, particularly in how exceptionally visual it is. The images and the music are what drive the film—not the plot (which is more interesting to a Beatles devotee than to the general popualce). In that, it's very much like a silent film! And Julie Taymore also directed Titus, the film version of Titus Andronicus that starred Anthony Hopkins. That film, too, is intensely (perhaps too intensely!) visual.
All of that gives the connections that justify re-posting this film clip with the alternate soundtrack. And it frees up space on my computer, after all.
Links: The Film at IMDB.
Due to circumstances beyond our control, this clip is temporarily (or permanently) unavailable.
Thank you for your understanding.
—The Management
Thank you for your understanding.
—The Management
Links: The Film at IMDB.
Click below to purchase the film from amazon.com
(and to support Bardfilm as you do so).
(and to support Bardfilm as you do so).
Friday, October 24, 2008
Two Weeks of Silents End with a Mysterious Post
Rosencrantz & Guildenstern are Undead. Dir. Jordan Galland. Perf. Jake Hoffman and Devon Aoki. 2008. C Plus Pictures, 2008.
We've had two weeks of silent films, nearly exhausting my reservoir. Before we have "Shakespeare and Opera" week or "Shakespeare and Star Trek" week (both distinct possibilities), we'll have something of a "Random Shakespeare" week.
It has been a while since I've thought of the film entitled Rosencrantz and Guildenstern are Undead (for which, q.v.). The vampire-related, Holy-Grail-quest-themed, Hamlet-production film doesn't yet have a release date, but subtle promotions for it continue. Here are three videos (from a site called Shakespiracy) that attempt to create a backstory—in this case, thousands of years of backstory!—for the film. They are bizarre—but they're also interesting. And I find them funny.
We've had two weeks of silent films, nearly exhausting my reservoir. Before we have "Shakespeare and Opera" week or "Shakespeare and Star Trek" week (both distinct possibilities), we'll have something of a "Random Shakespeare" week.
It has been a while since I've thought of the film entitled Rosencrantz and Guildenstern are Undead (for which, q.v.). The vampire-related, Holy-Grail-quest-themed, Hamlet-production film doesn't yet have a release date, but subtle promotions for it continue. Here are three videos (from a site called Shakespiracy) that attempt to create a backstory—in this case, thousands of years of backstory!—for the film. They are bizarre—but they're also interesting. And I find them funny.
Thursday, October 23, 2008
"Three Civil Brawls . . . Have thrice disturb'd the quiet of our streets": Silent Romeo and Juliet
Romeo Turns Bandit [Roméo se fait Bandit]. Dir. Romeo Bosetti. Perf. Max Linder. 1909. Othello. DVD. Keno Video, 2002.
I have not had the chance to see this film in its entirety, but I gather that it takes the tragedy of Romeo and Juliet and turns it into a comedy. When, as the title card says, "Montagu [sic] refuses to give Romeo his daughter," Romeo kidnaps her (that's the bandit part of the title) and they marry! It's not clear when—or if!—she falls in love with him, but let's hope that she does.
Links: The Film at IMDB.
I have not had the chance to see this film in its entirety, but I gather that it takes the tragedy of Romeo and Juliet and turns it into a comedy. When, as the title card says, "Montagu [sic] refuses to give Romeo his daughter," Romeo kidnaps her (that's the bandit part of the title) and they marry! It's not clear when—or if!—she falls in love with him, but let's hope that she does.
Links: The Film at IMDB.
The film is included on a DVD entitled Othello.
Click below to purchase it from amazon.com
(and to support Bardfilm as you do so).
Click below to purchase it from amazon.com
(and to support Bardfilm as you do so).
Wednesday, October 22, 2008
My Love is [as] a Fever: Over the Rhine Meets Sonnet 147 Meets Silent Midsummer Night's Dream
A Midsummer Night's Dream. Dir. J. Stuart Blackton and Charles Kent. Perf. William V. Ranous, Maurice Costello, Walter Ackerman, Julia Swayne Gordon, Rose Tapley, Gladys Hulette, Charles Chapman, Helene Costello, and Dolores Costello. Vitagraph Company of America. 1909. Silent Shakespeare. DVD. Image Entertainment, 2000.
Over the Rhine. “My Love is a Fever.” Eve. Capitol, 1994.
The special effect technology in this 1909 Midsummer Night's Dream is remarkably similar to that used by my brother and me (primarily my brother) in the films we made with his 8mm movie camera: film a bit, turn off the camera, place (or remove) an object, and resume filming! But there's also an intriguing attempt at visualizing Puck's putting "a girdle round about the earth in forty minutes" (II.i.175-67).
[N.B.: The version of the song is not actually the one from Eve; it's from a rare, limited-release CD entitled Live from Nowhere, Volume 1—Eve is much easier to find, and it's a great album, too.]
Links: The Film at IMDB.
Over the Rhine. “My Love is a Fever.” Eve. Capitol, 1994.
The special effect technology in this 1909 Midsummer Night's Dream is remarkably similar to that used by my brother and me (primarily my brother) in the films we made with his 8mm movie camera: film a bit, turn off the camera, place (or remove) an object, and resume filming! But there's also an intriguing attempt at visualizing Puck's putting "a girdle round about the earth in forty minutes" (II.i.175-67).
The film's decisions are also intriguing. Instead of Oberon, we have a fellow fairy (apparently named "Penelope," of all things!) avenging herself on Titania. I wonder if that's a more palatable arrangement for the 1909 audience than the troubled marriage of Oberon and Titania—especially with the "Wake when some vile thing is near" (II.ii.33) approach to marriage counseling Oberon takes.
For the soundtrack, I debated some considerable time between "Dear Prudence" from the soundtrack of Across the Universe and "My Love is a Fever" from Eve, the 1994 album from Over the Rhine. As you can hear, I decided on the latter (though I may decide to post the former later). I thought the themes of the song, as well as its rough paraphrase of the first line of Sonnet 147, were entirely appropriate. Also, it's great to have Bottom the Weaver mugging around to the sloppy, gritty blues guitar in the number.
[N.B.: The version of the song is not actually the one from Eve; it's from a rare, limited-release CD entitled Live from Nowhere, Volume 1—Eve is much easier to find, and it's a great album, too.]
Links: The Film at IMDB.
Click below to purchase the film from amazon.com
(and to support Bardfilm as you do so).
(and to support Bardfilm as you do so).
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Bardfilm is normally written as one word, though it can also be found under a search for "Bard Film Blog." Bardfilm is a Shakespeare blog (admittedly, one of many Shakespeare blogs), and it is dedicated to commentary on films (Shakespeare movies, The Shakespeare Movie, Shakespeare on television, Shakespeare at the cinema), plays, and other matter related to Shakespeare (allusions to Shakespeare in pop culture, quotes from Shakespeare in popular culture, quotations that come from Shakespeare, et cetera).
Unless otherwise indicated, quotations from Shakespeare's works are from the following edition:
Shakespeare, William. The Riverside Shakespeare. 2nd ed. Gen. ed. G. Blakemore Evans. Boston: Houghton Mifflin, 1997.
All material original to this blog is copyrighted: Copyright 2008-2039 (and into perpetuity thereafter) by Keith Jones.
—The Tempest