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Behine-the-scenes footage; Intervieews; Theatrical trailer and tv spots
Full Product DetailsDisc #1 -- Twelfth Night
1. The Shipwreck [4:22]
2. An Alien Shore [5:01]
3. Main Title [1:54]
4. Cesario and the Count [5:20]
5. Sir Toby and Sir Andrew [4:14]
6. Who's the Fool? [7:54]
7. Orsino's Embassy [11:12]
8. My Name is Sebastian [1:56]
9. Love Song [7:19]
10. Malvolio's Admonitions [9:25]
11. Letter of Love [8:12]
12. I Am Not What I Am [1:04]
13. Come Away Death [9:01]
14. Malvolio's Declaration [10:06]
15. Dueling Cowards [1:02]
16. Antionio's Arrest [:07]
17. Sebastian's Confusion [3:39]
18. Master Topas [6:52]
19. Olivia's Husband [2:29]
20. Reunited [3:06]
21. This Is Not My Writing [4:11]
22. End Credits [9:17]
23. Chapter 23 [5:51]
24. Chapter 24 [5:41]
25. Chapter 25 [4:19]
This clever Shakespeare adaptation, an over-the-top romantic comedy animated by gender confusion (a plot device that was already timeworn in the Bard’s day), updates the original play by setting its action in the 18th century. When a violent storm capsizes the ship on which she is a passenger, Viola (Imogen Stubbs) winds up on shore in an unfamiliar kingdom and, to avoid being victimized, cuts her hair and dresses in the clothes of the twin brother she believes lost at sea. Posing as a boy, she becomes a page for, and falls in love with, handsome Count Orsino (Toby Stephens), who is in turn crazy about the lady Olivia (Helena Bonham Carter). For her part, Olivia, believing Viola a boy, develops feelings for the young page rather than the desperate suitor. This puts the castaway is a tough spot; Viola dares not let either person know that “he” is actually a “she.” As a longtime member of the Royal Shakespeare Company, director Trevor Nunn (Lady Jane) has the material down cold, and he elicits finely calibrated performances from a cast that obviously knows and appreciates the subtleties of Shakespearean dialogue. Stubbs is delightful as the hapless cross-dresser, milking every situation and line for best comedic effect. Bonham Carter is equally skillful, resisting the obvious temptation to play her role with sly winks to the audience. Supporting player Richard E. Grant engages in some scene stealing as the foppish Sir Andrew Aguecheek, and Ben Kingsley shines as the troubadour Feste. Director Nunn really demonstrates his facility in the movie’s last quarter, presenting third-act plot twists and staging character interplay with perfect timing. Delightfully ribald and expertly made, Twelfth Night should amuse even those who normally shun Shakespeare. Ed Hulse, Barnes & Noble
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