Stometer Save your money for something good and enjoyable

Siflutter It's easily one of the freshest, sharpest and most enjoyable films of this year.

Tayyab Torres Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

Bumpy Chip It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

Alain English Though not nearly as much fun as some of Shakespeare's better comedies, this is nevertheless good fun to watch. Although it irritates me to see Shakespeare performed in stodgy period dress, it's still a well-acted piece.I was especially fond of Peter Jeffrey as the foppish Parolles. I like Shakespeare when he portrays upper-class idiots as he has a tendency in too many of his plays ("Measure for Measure", "A Midsummer Night's Dream")to portray the working classes as fools or rustics whose natural place is subservient to the lords and ladies who are so often his principal characters. This is patronising, but is some way made up for here. Jeffrey is excellent fun and his verbal duels with Micheal Horden's Lafeu are the best scenes in the play.Angela Down is very good is the smart Helena, and Ian Charleson has the right mix of charm and sullenness as Bertram, her unwilling choice of husband. Pippa Guard is very fetching as the maid Diana, and Donald Sinden gives a good performance as the King of France.By no means a classic of Shakespeare's, it's still a good watch.

angelofvic This award-winning BBC production brings life, enormous appeal, and intelligence to a play criminally underperformed. It's a pleasure to watch ... and re-watch ... and re-watch.Let's start with the fact that the production itself has been hailed far and wide for its beauty and visual precision. Director Elijah Moshinsky patterned it after paintings of Vermeer, and even though this may be unknown to the viewer, it has a remarkable subliminal impact.Now for the cast: Angela Down is the truly perfect Helena (the heroine of the play). She looks the part -- comely yet intellectual -- and speaks her lines with the perfect emotional fit. Most importantly, her diction and enunciation, and the speed at which she says the bard's words, make everything she says perfectly understandable and perfectly apt within that emotional fit. The viewer never has to wonder "What did she just say?" or "What does that mean?" Nonetheless the lines are fluid, musical, emotional, and very human. To me, this is the sign of a true Shakespearean actor.Celia Johnson as the Countess Roussillon (Bertram's mother and Helena's guardian) is equally fantastic. She's a pleasure to watch and listen to. Consummate acting.Ian Charleson as Bertram, Helena's very reluctant love object, is suitably sullen and morose, yet we see the physical beauty and the inherent charm, nobility, and charisma which attracts Helena to him. Charleson, a very internal actor, never overplays the part. To some extent he sometimes almost underplays it, occasionally speaking softly whilst his compatriots declaim more loudly or forcefully. Yet he holds our attention and fits the role very well.The supporting cast is almost without exception quite admirable -- some remarkably so. Excellent casting, and a lot of excellent acting.All in all, a very good production which makes the play easy to understand and enjoy.Highly recommended.

Ross --spoilers-- I loved this version. The Beeb have used Vermeer paintings for Bertram's home, notably the Girl at the Spinet (I think that's the title), but done it all in black and white. Amazing set. Helena plays the spinet at one stage and how interesting as I'd never seen a spinet keyboard that close before - how cramped the keyboard is. Every character is acted perfectly. Bertram is hissily horrid to nice kind Helena, and wouldn't we ladies all like to smack him for his ill manners? Time and again in the past women were forced into marriages with men they detested and how many of those men who had the freedom to choose their bride ever cared if she was miserable? But Bertram throws a fit when ordered by the King to marry Helena because he despises her "lowly rank". I can't imagine even the very grateful king would have forced a nobleman in his court to marry a girl much below his class and it was clear all the other gentlemen questioned were happy to have her if she'd chosen so. What's with Bertram's arrogance?! It makes a good story as Bertram defies the King somewhat by refusing to consummate the marriage and then has the cheek to use the dowry the king has given Helena to pay for his accoutrements and journey off to war, leaving Helena a spiteful note telling her he won't love her until she has got a valuable family ring off his finger and can prove he's made her pregnant - two feats he's certain she can never achieve as he also tells her he'll never see her again. He sends a thoroughly mean letter to his mother too, saying there's nothing for him at home until his unwanted wife is dead. Not a thought for his poor old mother maybe never seeing him again. Of course Helena manages to get the ring and the pregnancy, although she's exceedingly fortunate that the Florentine girl Diana who helps Helena trap Bertram back into his marriage isn't after Bertram herself when he absolutely ruthlessly sets out to seduce her. But Diana is sensible. She knows Bertram's married and won't give herself without marriage. Disliking Bertram's deceit, she and her mother and some friends are happy to trick Bertram so that Helena gets the ring and the pregnancy. Mean Bertram is thoroughly trapped though he doesn't know it yet.He hears that his wife is dead and goes home. Everyone including the King congregates there for the final scene. There's a fair bit of fuss about rings being in the possession of the wrong people and the king gets annoyed with Bertram again. Diana and her mother and Helena also arrive though Helena keeps out of sight whilst Diana insists Bertram must marry her. Bertram is in a fix because now his wife's dead he's decided he loves her. But it's all sorted out when Helena appears. Bertram gets off pretty lightly, frankly.

tonstant viewer The production design of this video is based on paintings by Vermeer, Rembrandt, de la Tour and others. It is uniformly striking and lovely, and will live in the memory.The acting performances are good, but uneasy, perhaps reflecting the problematic nature of the play. Ian Charleson's Bertram is cold, Angela Down's Helen is weepy, and so they stay for yards and yards of iambic pentameter. Only Donald Sinden as the King errs on the side of too much emotional variety, but it's hard to remember a Sinden performance in which he wasn't an explosive law unto himself. Michael Hordern and Peter Jeffrey battle deftly as Lafeu and Parolles, while Paul Brooke's Lavache is more menacing than witty. Pippa Guard's Diana is unfailingly dignified, and a small cameo by the aged Valentine Dyall proves unexpectedly moving. And as the Countess, Celia Johnson's presence is every bit as sympathetic here as it was in "Brief Encounter" 35 years earlier.Any dissatisfactions mentioned in this review are just quibbles, however, as the play is rare and worthwhile, the production gratifies the eye, and no one writes a closing reconciliation scene like Shakespeare. Indeed, All's Well That Ends Well.