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messenger arrives with news of the King of France's death. As the year of mourning that will proceed for the princess and her ladies means further courtship is impossible, and the women had until this point treated the men's courtship as nothing but a mocking merriment to entertain their guests, they request demonstrations of humility and constancy from the men, with a promise to marry them at the end of the 12 months if they carry out these acts.
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735:(that is, to keep every word of the original), and instead made major cuts in the play's text. The released version retains only about a quarter of Shakespeare's lines; although Branagh managed to include all seventeen of the original speaking roles, some (most notably among the lower-class characters) are cut almost to nothing.
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The men attempt to hide their own loves and expose those of their fellows. After a masked ball in which the pairs of lovers are comically mismatched, all the amours are revealed. Costard leads a musical number with the King's court, which eventually includes the entire cast. But as the song closes, a
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does not score the kind of complete success that
Branagh has achieved with his other Shakespeare adaptations, it is a welcome addition, not only because it represents the first time the play has been brought to the screen, but because it shows the lengths to which the director is willing to stretch
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could be treated as highly stylised, with the dialogue and action treated with an almost musical sense of rhythm. Branagh took this insight a step further and turned the play into a musical, going much further in his adaptation of the play than he had ever done in his
Shakespeare films, and risking
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Some of the characters in the film adaptation are not in the original script. Gaston, Isabelle, Eugene, Jaques, Beatrice, Hyppolyte, Celimene, and Sophie are not mentioned in the play, and they have no lines in the film. This, however, is a standard feature of
Branagh's Shakespeare adaptations; his
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complained as well of cutting that left the film's best actors (he mentions McEwan and Briers) with little to do. Kauffmann and Simon both noted that the film's ending, in which newsreel footage shows the men going off to fight in World War II, was grotesquely at odds with the frothy tone of the
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was not a box office success. It opened on 31 March 2000 in the United
Kingdom, grossing £143,649 from 186 screens on its opening weekend. It later opened on 11 June 2000 in the United States, playing on two screens and grossing $ 24,496 on its opening weekend. In its US release,
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is hardly ever performed on the stage and has never been previously filmed, and there is a reason for that: It's not about anything. In its original form, instead of the songs and dances we have dialogue that's like an idle exercise in easy banter for
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Berardinelli gave the film three out of four stars, calling it "about 1/3 Shakespeare, 1/3 song-and-dance, and 1/3 ribald slapstick" and describing the balance as "awkward, but the overall result is strangely appealing." He concluded,
728:, the film was meant to highlight energy and enthusiasm rather than smooth competence. Of the cast, only Nathan Lane was known primarily for musical work. Preproduction was dominated by rigorous dancing and singing coaching.
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has vowed to avoid romantic entanglements to spend three years in study and contemplation. His chief courtiers agree to follow him in this vow, though one (Berowne) argues that they will not be able to fulfill this plan.
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Some critics complained about the casting. Nathan Lane as
Costard received favourable notice, as did Adrian Lester. But the leads (Silverstone and Nivola) were generally panned;
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called the film "winsome, charming, sweet and slight", but gave it only two-and-a-half out of four stars, attributing some of the film's flaws to the original material:
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407:. The first feature film to be made of this lesser-known comedy, Branagh's fourth film of a Shakespeare play was a box-office and critical disappointment.
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the alienation of both audiences and serious critics. This decision also allowed him to revisit the
Hollywood film musicals he had loved in his youth.
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complained that the film "should be fun but isn't... worst of all perhaps is its smug air of pleasure at how clever it thinks it's being."
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In adapting the play to a musical, numerous songs primarily from the 1930s were featured, often in place of much dialogue. They include:
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Berowne's claim is proven correct almost instantly. The
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contains many non-speaking walk-on roles that are not included in the original play, but are mentioned in the cast list.
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is, in showbiz terms, a turkey stuffed with chestnuts, you wouldn't trade it for a pot of gold."
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played on fewer than 20 screens and brought in $ 284,291 against a budget of $ 13 million.
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seriously and those who love the old
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shelved its three-picture deal with
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Branagh cast the film without much regard for singing or dancing ability; as in
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Conversely, the film did receive notably positive reviews from such critics as
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is an enjoyable trifle, especially for those who don't take their Shakespeare
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as Holofernia (a female version of the male Holofernes in the original play)
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was met with a mixed reception from critics. It currently holds a 49% on
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1182:"'What Say You, My Lords? You'd Rather Charleston?' Love's Labour's Lost"
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Branagh became interested in the play during his 1984 season with the
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Golden Reel Award – Music – Musical Feature (Foreign & Domestic)
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Best Performance by an Actor in a British Independent Film
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the envelope. Flaws (most of which are minor) aside,
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1893:Films with screenplays by Kenneth Branagh
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116:Learn how and when to remove this message
1234:"International box office: UK/Ireland".
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1918:Jukebox musical films
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1579:A Haunting in Venice
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133:Love's Labour's Lost
50:improve this article
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1943:2000s British films
1814:The School of Night
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1766:1920 animated short
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1828:(poem; 1847)
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1370:Bibliography
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1259:. Retrieved
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662:Please help
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578:as Nathaniel
572:as Katherine
552:Carmen Ejogo
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369:$ 13 million
341:Running time
246:Neil Farrell
237:Alex Thomson
189:David Barron
171:
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106:January 2023
103:
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48:Please help
43:verification
40:
1758:Adaptations
1601:Short films
1539:All Is True
1363:Filmography
921:A. O. Scott
865:Roger Ebert
776:Jerome Kern
766:Cole Porter
720:Woody Allen
621:Daniel Hill
600:Nathan Lane
594:Jimmy Yuill
542:as Rosaline
444:Jimmy Yuill
440:Nathan Lane
203:Nathan Lane
185:Produced by
150:Directed by
1848:2000 films
1842:Categories
1771:1973 opera
1740:Characters
1519:Cinderella
1399:Dead Again
1219:19 January
1193:19 January
1165:19 January
1139:19 January
1106:Metacritic
1038:References
1031:Nominated
1015:Nominated
963:Box office
945:"Although
906:John Simon
859:Metacritic
632:Production
623:as Marcade
566:as Dumaine
548:as Berowne
374:Box office
345:93 minutes
328:2000-03-31
313:2000-07-17
274:Intermedia
262:Production
160:Written by
76:newspapers
1781:2000 film
1670:(ex-wife)
1620:Listening
1610:Swan Song
1214:ReelViews
989:Category
651:does not
477:Aquitaine
459:in 2006.
319:Berlinale
264:companies
243:Edited by
1776:TV, 1985
1686:Category
1261:26 April
554:as Maria
436:West End
432:Broadway
358:Language
251:Music by
197:Starring
168:Based on
1790:Related
1748:Costard
1653:Related
1559:Belfast
1389:Henry V
1160:Variety
1111:6 March
1086:6 March
1058:8 March
995:Result
915:Variety
885:of the
841:Release
672:removed
657:sources
617:as Moth
604:Costard
596:as Dull
469:Navarre
451:Miramax
390:musical
361:English
350:Country
326: (
311: (
90:scholar
1644:(1988)
1623:(2003)
1613:(1992)
1582:(2023)
1572:(2022)
1562:(2021)
1552:(2020)
1542:(2018)
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1512:(2014)
1502:(2011)
1492:(2007)
1489:Sleuth
1482:(2006)
1472:(2006)
1462:(2000)
1452:(1996)
1449:Hamlet
1442:(1995)
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1392:(1989)
986:Award
901:Hamlet
733:Hamlet
519:Hamlet
492:VE Day
366:Budget
317: (
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1592:(TBA)
739:Music
97:JSTOR
83:books
1499:Thor
1286:IMDb
1263:2024
1221:2012
1195:2012
1167:2012
1141:2012
1113:2018
1088:2018
1060:2024
655:any
653:cite
511:Cast
463:Plot
442:and
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418:and
69:news
1728:'s
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