Titus (1999)
“He that wounded her hath hurt me more than had he killed me dead.” – Titus
I am the first to admit that Shakespeare and I do not always see eye to eye. I simply do not understand his use of the language well enough to truly enjoy his work. That being said, Julie Taymor’s filmic rendering of William Shakespeare’s Titus Andronicus stands apart from the rest as a beacon of cinematic greatness. I am told that the film departs from the play in a very effective manner, leaving out what is unnecessary or trivial. The moments that remain are deftly constructed pieces of poetic language that, upon careful reviewing, I have come to understand full well. As fine as the writing behind this film is, it is truly the magnificent work of its actors that bring this macabre vision to life. The direction is also stellar. Julie Taymor’s innovative directing and story-telling places the context of the story within a timeless world of multiple historical and contemporary influences.
The film opens as a child plays with toy figures in his kitchen. Chaos ensues as his house collapses around him revealing a Roman amphitheatre. Onto the stage marches an army, arriving home after years at war. The soldiers wear Roman armour and garb. Some ride horseback while others ride motorcycles. This sets the tone of the film to follow; one that relies more on its compelling narrative than on historical or contextual accuracy.
The climactic dinner table scene might be one of my favourite moments in film. It is as powerful as it is exciting and imaginative. Shakespeare has never been so much fun.
“He that wounded her hath hurt me more than had he killed me dead.” – Titus
I am the first to admit that Shakespeare and I do not always see eye to eye. I simply do not understand his use of the language well enough to truly enjoy his work. That being said, Julie Taymor’s filmic rendering of William Shakespeare’s Titus Andronicus stands apart from the rest as a beacon of cinematic greatness. I am told that the film departs from the play in a very effective manner, leaving out what is unnecessary or trivial. The moments that remain are deftly constructed pieces of poetic language that, upon careful reviewing, I have come to understand full well. As fine as the writing behind this film is, it is truly the magnificent work of its actors that bring this macabre vision to life. The direction is also stellar. Julie Taymor’s innovative directing and story-telling places the context of the story within a timeless world of multiple historical and contemporary influences.
The film opens as a child plays with toy figures in his kitchen. Chaos ensues as his house collapses around him revealing a Roman amphitheatre. Onto the stage marches an army, arriving home after years at war. The soldiers wear Roman armour and garb. Some ride horseback while others ride motorcycles. This sets the tone of the film to follow; one that relies more on its compelling narrative than on historical or contextual accuracy.
The climactic dinner table scene might be one of my favourite moments in film. It is as powerful as it is exciting and imaginative. Shakespeare has never been so much fun.
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