Ehirerapp Waste of time

Inclubabu Plot so thin, it passes unnoticed.

Helloturia I have absolutely never seen anything like this movie before. You have to see this movie.

Roxie The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

Dr Jacques COULARDEAU Shakespeare is a master of suspense, when he wants to be, or isn't he always? A Duke of Vienna leaves his city and his deputy, Angelo (what a name for a twisted mind) in charge. But he comes back in disguise to check upon Angelo and he finds out that the man is corrupt and uses power to his own advantage, even trying to seduce a nun by sending her brother to the block where he would be beheaded at the strange time of four o'clock in the morning. But the Duke prevents the execution of that brother Claudio and comes back in time afterwards to sort things out. Shakespeare is a master at making us believe it will not go through and every step to the truth is immediately countered with two steps down the abyss, till the very last moment when the deputy is completely fooled out of countenance by the Duke coming back under his disguise – as a monk mind you – and reveals the villainy of his deputy when this deputy orders the Duke disguised as a monk to be sent to prison pending execution. Though everything looks really bleak till the end of the fourth act, the fifth act brings some relief but at the end of it only, though Shakespeare brilliantly prepares it with Isabella's cry for justice: "Justice, O royal Duke! Vail your regard / Upon a wrong'd- I would fain have said a maid! / O worthy Prince, dishonour not your eye / By throwing it on any other object / Till you have heard me in my true complaint, / And given me justice, justice, justice, justice." An opening single cry first and then a closing quadruple cry, which brings these "justice" cries to five: the diabolical disruptive pentacle, that the Duke double further on, along with Isabella, to ten to make the truth stronger, more unavoidable, with six words on each side and five identical making the sixth one all the more powerful. "Duke: Nay, it is ten times strange? / Isabella: Nay, it is ten times true." And the truth of a well balanced decision will come from the Duke, this time like a final decree: "Duke: 'An Angelo for Claudio, death for death!' / Haste still pays haste, and leisure answers leisure; / Like doth quit like, and Measure still for Measure. / Then, Angelo, thy fault's thus manifested, / Which, though thou wouldst deny, denies thee vantage. / We do condemn thee to the very block / Where Claudio stoop'd to death, and with like haste. / Away with him!" But Shakespeare being Shakespeare he manages to sort things out in a final ruling, as square a ruling as square can be. Mariana is married to Angelo and she is the happiest woman when Angelo is pardoned and escapes the block. Isabella is reunited to her brother Claudio. Lucio's slandering against the Duke sends him at first to prison to be whipped and then hanged, because he had called the Duke "a fool, a coward, one all of luxury, an ass and a madman", a diabolical pentacle of insults, but the Duke yields to popular demand and pardons the slandering provided he marries a prostitute this very Lucio had mishandled, which is equal to death in Lucio's words: "Marrying a punk, my lord, is pressing to death, / whipping, and hanging" which is another formal square though "marrying" is equaled to the three others: "pressing to death", "whipping", "hanging". And finally the Duke is moving towards his own marriage with Isabella. Four couples are reunited, even if one is brother and sister and another is a slanderer and a prostitute. And three marriages in that square ending. This production adds a detail at the end that does not seem to be in the tale which is the coming to the forefront of a woman and a newborn baby that is at once acknowledged by Claudio which makes a fourth real marriage, but I would have preferred the Shakespearian ending that is somewhere slightly awry and hence a big tongue in a big cheek like the final ternary speech of the Shrew when finally tamed into marriage and obedience.Dr Jacques COULARDEAU, University Paris 1 Pantheon Sorbonne, University Paris 8 Saint Denis, University Paris 12 Créteil, CEGID

travisbicklejr If you want to see a straight, rigorously faithful adaptation of this not often read or studied play, please watch this version. The play itself is one of the best kept secrets in the Shakespeare cannon. The costumes are colorful and interesting and the sets (though the budget was clearly not hugely substantial) really flesh out aspects of the play you typically miss when reading it. The acting is fine, particularly from Lucio, Pompey (the clown), and the Provost. I will admit that the actor who played the Duke could have put more emotion behind what he was saying, though he did a good job. As a side note, he played Admiral Piett in Star Wars Ep. V & VI (I just thought that was interesting and funny). True this is a kind of no frills version, but, in my opinion, many of the modern 'adaptations' of Shakespeare's plays are weak because people of our age forget the unequivocally beautiful and startlingly profound language that Shakespeare abounded in. He truly offers metaphors that are profound and universal; if you wish to hear this powerful language spoken in a convincing and effective manner, please watch Measure for Measure.

Howard Schumann Originally listed as one of William Shakespeare's comedies, Measure for Measure is now relegated to the status of being a "problem" play, meaning either that it doesn't fit into any box or that its content and message is a problem for orthodox interpreters of William Shakespeare's biography. Whether or not the play is a comedy, a problem play, or a tragi-comedy, it is a powerful work and one of Shakespeare's best. In the late 1970s, BBC and Time-Life produced the only filmed version of Measure for Measure in their series of 37 Shakespeare's plays. Although I have not seen more than a handful of BBC, Time-Life productions, this production stands out for the quality of the acting and the impeccable direction by Desmond Davis.Kenneth Colley is an appealing Vincentio, Duke of Vienna, who, dissatisfied with the corruption in the city, announces that he plans to visit Poland, handing over governing to his chief deputy, the rigidly puritanical Angelo, convincingly performed by Tim Piggot-Smith, who will be assisted by his wise counselor Escalus (Kevin Stoney). To observe how the city will fare, however, Vincentio travels to a monastery where he is provided with a hooded monk's robe which allows him to return to Vienna disguised as a priest, keeping his face partially covered by his hood.Taking over the reins of government, Angelo proceeds to enforce every statute, closing the houses of prostitution and arresting Claudio, a young nobleman (Christopher Strauli), for fornication by getting his lover Juliet (Yolanda Vazquez) pregnant, even though he had agreed to marry her. Under Angelo's order, he is to be executed in three days. On hearing the news, Claudio's friend Lucio (John McEnery) tells Claudio's sister, Isabella (Kate Nelligan), who is studying to be a nun, to go to Angelo and use all her power to convince Angelo to spare her brother's life.While Isabella, as portrayed by Nelligan, is cold and aloof, she is also intelligent and attractive, telling Angelo that "it is excellent to have a giant's strength; but it is tyrannous to use it like a giant." The hypocritical Angelo falls for Isabella, offering to go to bed with her in exchange for Claudio's life. Meanwhile, the "meddling" priest sets it up so that Isabella can escape the humiliation of having to sleep with Angelo by substituting Mariana (Jacqueline Pearce) in a bed-trick to be performed in the pitch-black night.Mariana is Angelo's former lover whom he had agreed to marry but backed out because "her reputation was disvalued in levity", though no details are provided. Duke Vincentio (still disguised as a friar) tells Mariana she will commit no sin by sleeping with Angelo because "he is your husband on a pre-contract." While Measure for Measure borrows from Cinthio's Epitia and Promos and Cassandra by George Whetstone, the play is a profoundly autobiographical work. If the Oxfordian theory is correct, the play speaks to a poignant episode in Oxford's life when, upon his returning home after his trip to Italy in 1576, his mind was poisoned by his cousin Henry Howard and his receiver, Rowland Yorke, both Catholics and enemies of the Protestant regime, to the effect that his wife Anne Cecil had been unfaithful to him.They told him that the daughter Anne had just given birth to could not be his since the last time he had slept with her was twelve months ago in October. Indeed, Oxford had not been told that his wife was pregnant until March and word of the baby's birth was not given to him until September, not by his wife but by her father, William Cecil. As a result of Anne's suspected infidelity, Oxford was estranged from his wife for over five years and only later in life became remorseful, reconciling with Anne and accepting Elizabeth Vere as his daughter. As far as the bed-trick is concerned, two separate sources recorded that de Vere conceived his first child by unknowingly sleeping with his wife when he thought he was with a mistress.One story circulated in The Histories of Essex in 1836 that Anne had been substituted by her father William for one of the Earl's mistresses when the Earl was in a drunken state. Whether this story is true or not (how anyone, no matter how dark it is nor how drunk they are could not know who they are sleeping with boggles the mind), Shakespeare was apparently able to see its dramatic potential, using the bed trick as a device in both Measure for Measure and All's Well That Ends Well. Likewise, in play after play, the male protagonist conceives a strong animosity toward a devoted wife, imagining her unfaithful to him on flimsy grounds, only to be later overwhelmed with remorse: Imogen in Cymbeline, Hermoine in The Winter's Tale, and Desdemona in Othello.In Measure for Measure, Vincentio and Angelo may represent two sides of the author's character, the noble and good-natured Duke, and the judgmental and unforgiving Angelo. It is a self appraisal in which the author does not escape indictment, though his misdeeds are eventually forgiven - as they were in life (but only after he was imprisoned in the Tower like Claudio for impregnating courtesan Anne Vavasour). While the themes eventually play out to everyone's advantage, the getting there is where the genius lies and the final act of Measure for Measure is every bit as moving and poetic as any of Shakespeare's well-known tragedies.

Spiralrhapsodist *SPOILER*This production is terrible. It blatantly sets aside or resolves ambiguities essential to the play's central metaphor; can there be charity in sin?Mr. Davis, who obviously had no academic understanding of Measure for Measure, has managed to destroy this amazing play.How can Lucio, a notorious womanizer be constantly and consistently colored with such paints of homosexuality as a heavy cake of rouge and a pearl stud in his left ear?How can Claudio lovingly embrace his sister who, at their last meeting promised to pray for his death a thousand times, accused him of incest and told him that if she could save him but by bending down would let his execution proceed?How can Isabella, a moral absolutist of the highest regard, who would not find charity in fornication to save her brother's life and who has found station as an initiate in a nunnery, so willingly accept the Duke's marriage proposal?How Can Angelo set aside all cunning and tricks of his office to approach Isabella with such aggression that it at times borders on violence?If I want Shakespeare, and I want the BBC involved, I'll stick to Trevor Nunn, thank you.