| Videos (see all 2 NEW) |
| Imogen Stubbs | ... | Viola | |
| Steven Mackintosh | ... | Sebastian | |
| Nicholas Farrell | ... | Antonio | |
| Sydney Livingstone | ... | Captain (as Sid Livingstone) | |
| Ben Kingsley | ... | Feste | |
| James Walker | ... | Priest | |
| Helena Bonham Carter | ... | Olivia | |
| Nigel Hawthorne | ... | Malvolio | |
| Mel Smith | ... | Sir Toby Belch | |
| Imelda Staunton | ... | Maria | |
| Toby Stephens | ... | Duke Orsino | |
| Alan Mitchell | ... | Valentine | |
| Peter Gunn | ... | Fabian | |
| Richard E. Grant | ... | Sir Andrew Aguecheek | |
| Tim Bentinck | ... | First Officer | |
| Rod Culbertson | ... | Second Officer | |
| Jeff Hall | ... | Gardener | |
| Rita Connolly | ... | Vocalist (voice) | |
| Valerie Armstrong | ... | Vocalist (voice) | |
| Peter Beamish | ... | Vocalist (voice) | |
| rest of cast listed alphabetically: | |||
| David Burke | ... | Party Guest / Dancer (uncredited) | |
Directed by | |||
| Trevor Nunn | |||
Writing credits | ||
| William Shakespeare | (play "Twelfth Night; or, What you will") | |
| Trevor Nunn | (screenplay) | |
Original Music by | |||
| Shaun Davey | |||
Cinematography by | |||
| Clive Tickner | |||
Film Editing by | |||
| Peter Boyle | |||
Casting by | |||
| Carl Proctor | |||
Production Design by | |||
| Sophie Becher | |||
Art Direction by | |||
| Ricky Eyres | (supervising art director) | ||
| David Hindle | |||
Set Decoration by | |||
| Marianne Ford | |||
Costume Design by | |||
| John Bright | |||
Makeup Department | |||
| Christine Beveridge | .... | hair designer | |
| Christine Beveridge | .... | hair stylist | |
| Christine Beveridge | .... | key makeup artist | |
| Christine Beveridge | .... | makeup artist | |
| Eithne Fennel | .... | key hair stylist | |
| Helen Johnson | .... | makeup artist | |
| Barbara Taylor | .... | hair stylist | |
| Elizabeth Yianni-Georgiou | .... | hair stylist | |
| Elizabeth Yianni-Georgiou | .... | makeup artist | |
Production Management | |||
| Johnny Bamford | .... | unit manager | |
Art Department | |||
| Lee Betis | .... | painter (as Lee Betts) | |
| Bobby Betts | .... | stand-by painter | |
| Mark Brady | .... | stand-by carpenter | |
| Anthony Caccavale | .... | painter | |
| Julia Castle | .... | art department assistant | |
| David Cheesman | .... | dressing props (as Dave Cheesman) | |
| Martin Freeman | .... | carpenter | |
| John Greaves | .... | storyboard artist | |
| Rebecca Holmes | .... | assistant art director | |
| Jonathan Hurst | .... | chargehand stand-by prop | |
| Martin Kingsley | .... | property master | |
| Colin Lovering | .... | scenic painter | |
| Anthony McGee | .... | carpenter | |
| John McGee | .... | carpenter | |
| Daniel O'Regan | .... | carpenter | |
| John O'Regan | .... | carpenter | |
| Keith Pitt | .... | dressing props | |
| Steven Sallybanks | .... | scenic artist (as Steve Sallybanks) | |
| Anabel Yorke | .... | assistant to set decorator | |
Sound Department | |||
| Paul Cridlin | .... | boom operator | |
| David Crozier | .... | production sound mixer | |
| David Crozier | .... | sound editor | |
| Diane Greaves | .... | foley artist | |
| Joe Illing | .... | foley editor | |
| Dominic Lester | .... | sound re-recording mixer | |
| Mick Monks | .... | assistant sound editor | |
| Robin O'Donoghue | .... | sound re-recording mixer | |
| Alan Paley | .... | foley editor | |
| Bob Risk | .... | supervising sound editor | |
| Jack Stew | .... | foley artist | |
| Peter Gleaves | .... | adr mixer (uncredited) | |
Special Effects by | |||
| James Davis III | .... | special effects senior technician | |
| Jeremy Lovett | .... | special effects technician | |
| Stefano Pepin | .... | special effects assistant | |
Visual Effects by | |||
| Courtney Vanderslice | .... | head of production: Cinesite | |
| Aviv Yaron | .... | Compositor: Cinesite | |
Stunts | |||
| Sarah Franzl | .... | stunts | |
| Nick Gillard | .... | stunt coordinator | |
| Derek Lee | .... | stunts | |
| Lee Sheward | .... | stunts | |
| Sarah Franzl | .... | stunt double: Imogen Stubbs (uncredited) | |
Costume and Wardrobe Department | |||
| Maurizio Basile | .... | costume assistant | |
| Joe Hobbs | .... | wardrobe master | |
| Yvonne Hobbs | .... | wardrobe mistress | |
| Sue Honeybourne | .... | assistant costume designer | |
| Marcus Love-McGuirk | .... | costumer | |
| Berverley Webb | .... | costume assistant | |
Editorial Department | |||
| Tullio Brunt | .... | first assistant editor | |
| Paul Ensby | .... | color timer | |
| Mike Fraser | .... | negative cutter | |
| Liz Roe | .... | second assistant editor (as Elizabeth Roe) | |
Music Department | |||
| Sarah Byrne | .... | supervising music copyist | |
| Shaun Davey | .... | additional orchestrator | |
| Noel Eccles | .... | musician: featured percussion | |
| Brian Masterson | .... | music recordist | |
| Des Moore | .... | musician: guitar solo | |
| Fergus O'Carroll | .... | additional orchestrator | |
| Martin O'Connor | .... | musician: accordion solo | |
| Alan Smale | .... | orchestra leader | |
| Fiachra Trench | .... | conductor | |
| Fiachra Trench | .... | orchestrator | |
| Denis Woods | .... | computer programmer: music department | |
| John Woolf | .... | musical director | |
Transportation Department | |||
| Tony Bird | .... | transportation manager | |
Other crew | |||
| Libbie Barr | .... | script supervisor | |
| Liz Barron | .... | financial controller | |
| Grietje Besteman | .... | underwater double | |
| Claire Chapman | .... | production associate | |
| Cleone Clarke | .... | assistant to producers | |
| Gillian Dawes | .... | production coordinator | |
| Steve Dent | .... | horse coordinator | |
| Karen Gilbert | .... | production assistant | |
| Emma Hepple | .... | horse handler | |
| Ian Hodson | .... | underwater double | |
| Stuart Hopps | .... | choreographer | |
| Jonathan Hurst | .... | stand-by person | |
| Julie Linnane | .... | accounting assistant | |
| Miara Martell | .... | location manager (as Martell) | |
| Elisabeth Penrith | .... | stand-in | |
| Nick Prideaux | .... | stand-in | |
| Malcolm Ranson | .... | fight director | |
| Margaret Teatum | .... | post-production accountant | |
| Nick Turnbull | .... | stand-by person | |
| Elaine Tyler-Hall | .... | assistant choreographer | |
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| Rosencrantz & Guildenstern Are Dead | The Importance of Being Earnest | As You Like It | King Lear | She's the Man |
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Reading Trevor Nunn's thoughts on his film, it is easy to conclude that they were lucky to obtain such sublime weather for the large duration of the filming, in November. The Cornwall locations are absolutely enchanting; showing an England so far from the urban norm these days. The beautiful natural light, with later dark contrasts, perfectly complements the jovial, winning mood of this Shakespeare comedy brought to screen: and, what is more, this is truly beyond any sense of 'heritage cinema', as Shakespeare's genius is retained.
Yes, it is all a very 'accessible' package, but much is unusual and distinctive to this film adaptation. Ben Kinglsey is perhaps the most glaring instance of a radical re-invisioning; his acting - stripped bare of artifice - is utterly compelling and keeps you watching his every mannerism. This Feste is an eccentric, multi-talented clown and performer, but he also bears words of cutting, melancholy truth. Indeed, both are wonderfully combined with the gorgeously sad scene of Staunton, Grant and Smith listening to his sad song: they listen and the words cut into their veneers. Loneliness is at their very core. What a brilliantly rounded comedy this is; balanced by melancholy - the inch-perfect awry note struck by Hawthorne's Malvolio appearing at the end - and good will - the comradely bonhomie that Grant and Smith are indeed shown to share.
Hawthorne and perhaps more surprisingly Mel Smith and Richard E. Grant really do a fine job and imbuing some real character in their parts; treading a line between broad comedic playing and human sadness. Along with Kingsley's career-best (? not seen too many of his films) performance, they lend this film its heart, and play very well against the wonderful settings. Mackintosh and Stubbs are I guess a little less compelling, but these roles are really difficult to carry off... nothing about them really lingers too long in the memory, like Kingsley's expressions, bizarre little pieces of dance and his pared-down delivery. Helena Bonham Carter is perhaps overly assured as the vain countess dame, Olivia: oh so archly bemused when faced by the cross-gartered, prancing Hawthorne, but generally Ms. Bonham Carter is very much in her usual, predictably petulant, period-costume mode. Which is probably being unfair; she does convince, at the end of the day.
Overall then, a wonderfully colourful delight, bearing the flavour of bright, melancholy late summer-into-autumn. A strange chill is cast by the compelling Kinglsey; a sadness that cannot be dispelled. This film has light amusement in addition to this real edge, and is ultimately a very affecting rendering of a bona fide Shakesperean classic.