In 1593 London, William Shakespeare is a sometime player in the Lord Chamberlain's Men and playwright for Philip Henslowe, owner of The Rose Theatre. Suffering from writer's block with a new comedy, Romeo and Ethel, the Pirate's Daughter, Shakespeare attempts to seduce Rosaline, mistress of Richard Burbage, owner of the rival Curtain Theatre, and to convince Burbage to buy the play from Henslowe. Shakespeare receives advice from rival playwright Christopher Marlowe, but is despondent to learn Rosaline is sleeping with Master of the RevelsEdmund Tilney. The desperate Henslowe, in debt to ruthless moneylender Fennyman, begins auditions anyway.
Viola de Lesseps, daughter of a wealthy merchant, who has seen Shakespeare's plays at court, disguises herself as a man named Thomas Kent to audition. Kent gains Shakespeare's interest with a speech from Two Gentlemen of Verona, but runs away when Shakespeare questions her. He pursues Kent to Viola's house and leaves a note with her nurse, asking Kent to begin rehearsals at the Rose.
Shakespeare sneaks into a ball at the house, where Viola's parents arrange her betrothal to Lord Wessex, an aristocrat in need of money. Dancing with Viola, Shakespeare is struck speechless. Confronted by Wessex, Shakespeare introduces himself as Christopher Marlowe. Wessex ejects "Marlowe" and threatens to kill him. Shakespeare finds Viola on her balcony, where they confess their mutual attraction before he is discovered by her nurse and flees.
Inspired by Viola, Shakespeare quickly transforms the play into what will become Romeo and Juliet. Rehearsals begin, with Thomas Kent as Romeo, the leading tragedian Ned Alleyn as Mercutio, and the stagestruck Fennyman in a small role. After Shakespeare discovers Viola's true identity, they begin a secret affair.
Viola is summoned to court to receive approval for her proposed marriage to Wessex. Shakespeare accompanies her, disguised as her nurse's female cousin, and anonymously persuades Wessex in public to wager £50 that a play can capture the true nature of love, the amount Shakespeare requires to buy a share in the Chamberlain's Men. Queen Elizabeth I declares that she will judge the matter.
Burbage learns Shakespeare has seduced Rosaline and cheated him out of payment for the play, and starts a brawl at the Rose with his company. The Rose players repel Burbage and his men and celebrate at the pub, where a drunken Henslowe lets slip to Viola that Shakespeare is married, albeit separated from his wife. News arrives that Marlowe has been murdered. A guilt-ridden Shakespeare assumes Wessex had Marlowe killed, believing him to be Viola's lover, while Viola believes Shakespeare to be the victim. Shakespeare appears at her church, allaying Viola's fears and terrifying Wessex, who believes he is a ghost. Viola confesses her love for Shakespeare, but both recognize she cannot escape her duty to marry Wessex.
John Webster, an unpleasant boy who hangs around the theatre, spies on Shakespeare and Viola making love and informs Tilney, who closes the Rose for breaking the ban on women actors. Viola's identity is exposed, leaving Shakespeare without a stage or a lead actor, until Burbage offers his theatre and the heartbroken Shakespeare takes the role of Romeo. Following her wedding, Viola learns the play will be performed that day, and runs away to the Curtain. She overhears that the boy playing Juliet cannot perform, his voice having broken, and Henslowe asks her to replace him. She plays Juliet to Shakespeare's Romeo to an enthralled audience.
Just after the play has concluded, Tilney arrives to arrest everyone for indecency due to Viola's presence, but the Queen reveals herself in attendance and restrains him, pretending that Kent is a man with a "remarkable resemblance" to a woman. Powerless to end a lawful marriage, she orders Viola to sail with Wessex to Virginia. The Queen also tells Wessex, who followed Viola to the theatre, that Romeo and Juliet has won the bet for Shakespeare, and has Kent deliver his £50 to Shakespeare with instructions to write "something more cheerful next time, for Twelfth Night".
Viola and Shakespeare say their goodbyes, and he vows to immortalize her, as he imagines the beginning of Twelfth Night, in character as a castaway disguised as a man after a voyage to a strange land.
The original idea for Shakespeare in Love was suggested to screenwriter Marc Norman in the late 1980s by his son Zachary.[9] Norman wrote a draft screenplay which he presented to director Edward Zwick, which attracted Julia Roberts, who agreed to play Viola. However, Zwick disliked Norman's screenplay and hired the playwright Tom Stoppard to improve it (Stoppard's first major success had been with the Shakespeare-themed play Rosencrantz and Guildenstern Are Dead).[10]
The film went into production in 1991 at Universal, with Zwick as director, but although sets and costumes were in construction, Shakespeare had not yet been cast, because Roberts insisted that only Daniel Day-Lewis could play the role. Day-Lewis was uninterested, and when Roberts failed to persuade him, she withdrew from the film, six weeks before shooting was due to begin.[11] Zwick and the studio had tried to hold chemistry tests between Roberts and several then-unknown actors, including Hugh Grant, Ralph Fiennes, Jeremy Northam, Rupert Graves, Colin Firth, and Sean Bean, but Roberts either skipped the meetings or found faults with them all. After one last screen test with Paul McGann, Roberts pulled out of the production, which Zwick attributed to insecurity about the pressure she was under to succeed in the role.[12][13] The production went into turnaround, and Zwick was unable to persuade other studios to take up the screenplay. Canceling the film cost Universal $6 million.[10]
Eventually, Zwick got Miramax Films interested in the screenplay, but Miramax Films chose John Madden as director. Miramax Films boss Harvey Weinstein acted as producer. For the president of a studio to have given himself a producer credit created a firestorm within the industry that resulted in what has come to be known as “the Harvey Rule,” which stipulates that to earn the Producers Guild credit, a producer must have performed some real role in making the finished film.[14] To justify his producer credit, Harvey claimed he took a leave of absence from his executive duties at Miramax Films to work on this movie, which longtime Miramax Films senior executive, Mark Gill, dismissed as “complete bullshit.”[15]
The film was considerably reworked after the first test screenings. The scene with Shakespeare and Viola in the punt was re-shot, to make it more emotional, and some lines were re-recorded to clarify the reasons why Viola had to marry Wessex. The ending was re-shot several times, until Stoppard eventually came up with the idea of Viola suggesting to Shakespeare that their parting could inspire his next play.[19]
Among the locations used in the production were Hatfield House, Hertfordshire (for the fireworks scene), Broughton Castle, Oxfordshire (which played the role of the de Lesseps mansion), the beach at Holkham in Norfolk, the chapel at Eton College, Berkshire, and the Great Hall of Middle Temple, London.[20]
References to Elizabethan literature
Much of the action of the film echoes that of Romeo and Juliet. Will and Viola play out the famous balcony and bedroom scenes; like Juliet, Viola has a witty nurse, and is separated from Will by a gulf of duty (although not the family enmity of the play: the "two households" of Romeo and Juliet are supposedly inspired by the two rival playhouses). In addition, the two lovers are equally "star-crossed"–they are not ultimately destined to be together (since Viola is of rich and socially ambitious merchant stock and is promised to marry Lord Wessex, while Shakespeare himself is poor and already married). Rosaline, with whom Will is in love at the beginning of the film, is a namesake of Romeo's love-interest at the beginning of the play. There are references to earlier cinematic versions of Shakespeare, such as the balcony scene pastiching the Zeffirelli Romeo and Juliet.[21]
Many other plot devices used in the film are common in Shakespearean comedies and other plays of the Elizabethan era: the monarch moving unrecognized among the common people (cf. Henry V), the cross-dressing disguises, mistaken identities, the sword fight, the suspicion of adultery, the ostensible appearance of a ghost (cf. Hamlet and Macbeth), and the "play within a play". According to Douglas Brode, the film deftly portrays many of these devices as though the events depicted were the inspiration for Shakespeare's own use of them in his plays.[22]
Christopher Marlowe is presented in the film as the master playwright whom the characters consider the greatest English dramatist of that time – this is historically accurate, yet also humorous, since the film's audience knows what will eventually happen to Shakespeare's reputation. Marlowe gives Shakespeare a plot for his next play, "Romeo and Ethel the Pirate's Daughter" ("Romeo is Italian...always in and out of love...until he meets...Ethel. The daughter of his enemy! His best friend is killed in a duel by Ethel's brother or something. His name is Mercutio.")[23] Marlowe's Doctor Faustus is quoted repeatedly: "Was this the face that launched a thousand ships/ And burned the topless towers of Ilium?" A reference is also made to Marlowe's final, unfinished play The Massacre at Paris in a scene wherein Marlowe (Rupert Everett) seeks payment for the final act of the play from Richard Burbage (Martin Clunes). Burbage promises the payment the next day, so Marlowe refuses to part with the pages and departs for Deptford, where he is killed.[24][25] The only surviving text of The Massacre at Paris is an undated octavo that is probably too short to represent the complete original play. It has been suggested that it is a memorial reconstruction by the actors who performed the work.[26]
The child John Webster (Joe Roberts), who plays with rats, is a reference to a leading figure in the next, Jacobean, generation of playwrights. His plays (The Duchess of Malfi, The White Devil) are known for their 'blood and gore', which is humorously referred to by the child saying that he enjoys Titus Andronicus, and also saying of Romeo and Juliet, when asked his opinion by the Queen, "I liked it when she stabbed herself."[27] Likewise, the Thameswaterman who ferries Shakespeare to the estate of Robert de Lesseps, and tries to get Shakespeare's opinion of his own writing, references John Taylor.[28]
When the clown Will Kempe (Patrick Barlow) says to Shakespeare that he would like to play in a drama, he is told that "they would laugh at Seneca if you played it", a reference to the Roman tragedian renowned for his sombre and bloody plot lines which were a major influence on the development of English tragedy.[29]
Will is shown signing a paper repeatedly, with many relatively illegible signatures visible. This is a reference to the fact that several versions of Shakespeare's signature exist, and in each one he spelled his name differently.[30]
Plot precedents and similarities
After the film's release, certain publications, including Private Eye, noted strong similarities between the film and the 1941 novel No Bed for Bacon, by Caryl Brahms and S. J. Simon, which also features Shakespeare falling in love and finding inspiration for his later plays. In a foreword to a subsequent edition of No Bed for Bacon (which traded on the association by declaring itself "A Story of Shakespeare and Lady Viola in Love") Ned Sherrin, Private Eye insider and former writing partner of Brahms', confirmed that he had lent a copy of the novel to Stoppard after he joined the writing team,[31] but that the basic plot of the film had been independently developed by Marc Norman, who was unaware of the earlier work.
The film's plot can claim a tradition in fiction reaching back to Alexandre Duval's "Shakespeare amoureux ou la Piece a l'Etude" (1804), in which Shakespeare falls in love with an actress who is playing Richard III.[32]
The writers of Shakespeare in Love were sued in 1999 by bestselling author Faye Kellerman. She claimed that the plotline was stolen from her 1989 novel The Quality of Mercy, in which Shakespeare romances a Jewish woman who dresses as a man, and attempts to solve a murder. Miramax Films spokesman Andrew Stengel derided the claim, filed in the US District Court six days before the 1999 Academy Awards, as "absurd", and argued that the timing "suggests a publicity stunt".[33][34] An out-of-court settlement was reached, but the sum agreed between the parties indicates that the claim was "unwarranted".[35]
Historical inaccuracies
The film is "not constrained by worries about literary or historical accuracy" and includes anachronisms such as a reference to Virginia tobaccoplantations, at a time before the Colony of Virginia existed.[36] A leading character is an Earl of Wessex, a title which in Shakespeare's time had not existed for over 500 years. Queen ElizabethI never entered a public theatre, as she does in the film. Between Romeo and Juliet and Twelfth Night, Shakespeare wrote ten other plays over a period of six years.[37] Another historical liberty concerns the central theme of Shakespeare struggling to create the story of Romeo and Juliet, as in real life he simply adapted an existing story for theatre. Arthur Brooke translated the Italian verse tale The Tragical History of Romeus and Juliet into English in 1562, 32 years before Shakespeare's Romeo and Juliet.[38]
Release
Box office
Shakespeare in Love was among 1999's box office number-one films in the United Kingdom. The U.S. and Canadian box office reached over $100 million and in the U.K. it grossed $34 million; including the box office from the rest of the world, the film took in over $289 million.[4][39]
Critical reception
Rotten Tomatoes gives Shakespeare in Love a 92% approval rating based on 141 critical reviews, averaging 8.30/10. The website's critical consensus states: "Endlessly witty, visually rapturous, and sweetly romantic, Shakespeare in Love is a delightful romantic comedy that succeeds on nearly every level."[40] On Metacritic, the film holds a score of 87 out of 100 based on 33 critical reviews, indicating "universal acclaim".[41]
Janet Maslin of The New York Times made the film an "NYT Critics' Pick", calling it "pure enchantment". According to Maslin, "Gwyneth Paltrow, in her first great, fully realized starring performance, makes a heroine so breathtaking that she seems utterly plausible as the playwright's guiding light."[36]
Roger Ebert, who gave the film four stars out of four, wrote: "The contemporary feel of the humor (like Shakespeare's coffee mug, inscribed 'Souvenir of Stratford-Upon-Avon') makes the movie play like a contest between Masterpiece Theatre and Mel Brooks. Then the movie stirs in a sweet love story, juicy court intrigue, backstage politics and some lovely moments from Romeo and Juliet...Is this a movie or an anthology? I didn't care. I was carried along by the wit, the energy and a surprising sweetness."[23]
Filmmaker David Cronenberg was critical of the film stating that it "really annoyed me" as it was "deconstructionist film-making, but it's also just Romeo and Juliet again".[42]
The Sunday Telegraph claimed that the film prompted the revival of the title of Earl of Wessex. Prince Edward was originally to have been titled Duke of Cambridge following his marriage to Sophie Rhys-Jones in 1999, the year after the film's release. However, after watching Shakespeare in Love, he reportedly became attracted to the title of the character played by Colin Firth, and asked his mother Queen ElizabethII to be given the title of Earl of Wessex instead.[43]
In the wake of sexual abuse allegations against Weinstein, many of the cast and crew began to distance themselves from the producer and his past behavior. Madden, while condemning Weinstein, stated that the producer "craved power and had power and, as we now know, he was using it in ways that are repugnant and should be utterly condemned".[44]
Many industry pundits speculated that this win was attributed to the awards campaign led by Weinstein.[48][49] Weinstein was reported to have strong-armed the movie's talent into participating in an unprecedented blitzkrieg of press.[48] Terry Press, an executive at DreamWorks at the time, stated that Weinstein and Miramax "tried to get everybody to believe that Saving Private Ryan was all in the first 15 minutes".[50] Mark Gill, an executive at Miramax at the time, claimed that Weinstein had a reliance on relatively cheap publicity. He stated, "This was not saying to the stars, 'O.K., you can go on a couple of talk shows to open the movie and do a weekend of interviews at a junket and thanks so much for helping'", Gill said. "That was just 'Good morning. You've got three more months of shaking hands and kissing babies in you.'"[50]
In 2015, The Hollywood Reporter magazine, stating it had interviewed hundreds of Academy members, indicated that, having to choose between Shakespeare in Love and Saving Private Ryan, a majority of them would award the Oscar for Best Picture to the latter. (The same article stated that the results of four other Best Picture winners would also be different, referring to their survey as "a referendum on what films have stood the test of time".)[51] In 2020, Glenn Close stated in an interview with Peter Travers that she thought Paltrow winning Best Actress over Fernanda Montenegro for Central Station did not "make sense".[52] In response to that, Montenegro said she was grateful for Close's praise, but thought the Oscar should have gone to Blanchett.[53]
In November 2011, Variety reported that Disney Theatrical Productions intended to produce a stage version of the film in London with Sonia Friedman Productions.[74] The production was officially announced in November 2013.[75] Based on the film screenplay by Norman and Stoppard, it was adapted for the stage by Lee Hall. The production was directed by Declan Donnellan and designed by Nick Ormerod, the joint founders of Cheek by Jowl.
From December 2016 to January 2017, Shakespeare of True Love (Japanese: シェイクスピア物語～真実の愛), a Japanese adaptation of Shakespeare in Love written by Shigeki Motoiki and Sakurako Fukuyama, was produced in Kanagawa Arts Theatre.[79][80] It was not related to Lee Hall's play. Takaya Kamikawa played Will Shakespeare and Alisa Mizuki played Viola.[79][80]
The Tragedy of Romeo and Juliet, often shortened to Romeo and Juliet, is a tragedy written by William Shakespeare early in his career about the romance between two Italian youths from feuding families. It was among Shakespeare's most popular plays during his lifetime and, along with Hamlet, is one of his most frequently performed. Today, the title characters are regarded as archetypal young lovers.
Miramax, LLC, formerly known as Miramax Films, is an American independent film and television production and distribution company founded on December 19, 1979, by Harvey and Bob Weinstein, and based in Los Angeles, California. Today, it is owned by beIN Media Group and Paramount Global.
This article contains information about the literary events and publications of 1597.
Philip Henslowe was an Elizabethan theatrical entrepreneur and impresario. Henslowe's modern reputation rests on the survival of his diary, a primary source for information about the theatrical world of Renaissance London.
The Rose was an Elizabethan theatre. It was the fourth of the public theatres to be built, after The Theatre (1576), the Curtain (1577), and the theatre at Newington Butts – and the first of several playhouses to be situated in Bankside, Southwark, in a liberty outside the jurisdiction of the City of London's civic authorities. Its remains were excavated by archaeologists in 1989 and are listed by Historic England as a Scheduled Monument.
Romeo and Juliet is a 1936 American film adapted from the play by William Shakespeare, directed by George Cukor from a screenplay by Talbot Jennings. The film stars Leslie Howard as Romeo and Norma Shearer as Juliet, and the supporting cast features John Barrymore, Basil Rathbone, and Andy Devine.
Harvey Weinstein is an American former film producer and convicted sex offender. In 1979, Weinstein and his brother, Bob Weinstein, co-founded the entertainment company Miramax, which produced several successful independent films including Sex, Lies, and Videotape (1989); The Crying Game (1992); Pulp Fiction (1994); Heavenly Creatures (1994); Flirting with Disaster (1996); and Shakespeare in Love (1998). Weinstein won an Academy Award for producing Shakespeare in Love and also won seven Tony Awards for plays and musicals including The Producers, Billy Elliot the Musical, and August: Osage County. After leaving Miramax, Weinstein and his brother Bob founded The Weinstein Company (TWC), a mini-major film studio. He was co-chairman, alongside Bob, from 2005 to 2017.
Juliet Capulet is the female protagonist in William Shakespeare's romantic tragedy Romeo and Juliet. A 13-year-old girl, Juliet is the only daughter of the patriarch of the House of Capulet. She falls in love with the male protagonist Romeo, a member of the House of Montague, with which the Capulets have a blood feud. The story has a long history that precedes Shakespeare himself.
Robert Weinstein is an American film producer. He is the founder and head of Dimension Films, former co-chairman of Miramax Films and The Weinstein Company (TWC), all of which he co-founded with his older brother, Harvey. He has focused on making action and horror films.
Declan Michael Martin Donnellan is an English film/stage director and author. He co-founded the Cheek by Jowl theatre company with Nick Ormerod in 1981. In addition to his Cheek by Jowl productions, Donnellan has made theatre, opera and ballet with a variety of companies across the world. In 1992, he received an honorary degree from the University of Warwick and in 2004 he was made a Chevalier de l'Ordre des Arts et des Lettres for his work in France. In 2010, he was made an honorary fellow of Goldsmiths' College, University of London. Donnellan was appointed Officer of the Order of the British Empire (OBE) in the 2017 Birthday Honours for services to theatre.
Neil Vivian Bartlett, OBE is a British director, performer, translator and writer. He was one of the founding members of Gloria, a production company established in 1988 to produce his work along with that of Nicolas Bloomfield, Leah Hausman and Simon Mellor.
Marc Norman is an American screenwriter, novelist and playwright.
John Murray McEnery was an English actor.
Shakespeare in Love is the original soundtrack album, on the Sony Classical label, of the 1998 Academy Award-winning and Golden Globe-winning film Shakespeare in Love, starring Joseph Fiennes, Gwyneth Paltrow, Geoffrey Rush, Tom Wilkinson, Imelda Staunton, Ben Affleck and Judi Dench. The original score and songs were composed by Stephen Warbeck.
Richard McCabe is a Scottish actor who has specialised in classical theatre. He is an Associate Artist of the Royal Shakespeare Company (RSC).
Kate Fleetwood is an English actress. She was nominated for a Tony Award for her performance as Lady Macbeth in Macbeth, at Chichester Festival Theatre and the West End and Broadway and an Olivier Award nomination in 2012 for her performance as Julie in London Road at the National Theatre. Her film and television credits include Vanity Fair (2004), Harry Potter and the Deathly Hallows – Part 1 (2010), Macbeth (2010), Philomena (2013), London Road (2015), Harlots (2017–2019), and The Wheel of Time (2021).
The pink Ralph Lauren dress of Gwyneth Paltrow was designed by Ralph Lauren and worn to the 71st Academy Awards on 21 March 1999 at the Dorothy Chandler Pavilion in Los Angeles. The dress received mixed reviews and the style was compared to that of the actress Grace Kelly. The dress was widely copied after the event, and Paltrow was credited for bringing pink back into fashion.
Lucy Peacock is a Canadian actress best known for major stage roles at the Stratford Shakespeare Festival in Canada during the course of 30 years.
Shakespeare in Love is a play by Lee Hall adapted from the 1998 film of the same title by Marc Norman and Tom Stoppard.
She Said is a 2022 American drama film directed by Maria Schrader and written by Rebecca Lenkiewicz, based on the 2019 book by reporters Jodi Kantor and Megan Twohey. The film stars Carey Mulligan and Zoe Kazan as Twohey and Kantor, respectively, and follows their New York Times investigation that exposed Harvey Weinstein's history of abuse and sexual misconduct against women. The film also stars Patricia Clarkson, Jennifer Ehle, Samantha Morton, and Andre Braugher, in his final film role before his death in 2023. Ashley Judd appears as herself.
↑ "AVON CALLING". Chicago Tribune. 23 December 1998. Retrieved 12 September 2024.
1 2 Peter Biskind, "Down and Dirty Pictures: Miramax, Sundance and the Rise of Independent Film" (New York: Simon & Schuster, 2004), p. 327.
↑ Mell, Eila (2004). Casting might-have-beens: a film by film directory of actors considered for roles given to others. Jefferson, NC: McFarland. p.216. ISBN978-0-7864-2017-9.
↑ Zwick, Edward (4 March 2023). "Not to Be". Air Mail. Archived from the original on 7 May 2023. Retrieved 4 March 2024.
↑ Auletta, Ken (12 July 2022). Hollywood Ending: Harvey Weinstein and the Culture of Silence. City of Westminster, London: Penguin Publishing Group. p.133. ISBN9781984878380.
↑ Peter Biskind, "Down and Dirty Pictures: Miramax, Sundance and the Rise of Independent Film" (New York: Simon & Schuster, 2004), pp. 328–30.
↑ French, Emma, Selling Shakespeare to Hollywood: Marketing of Filmed Shakespeare Adaptations from 1989 Into the New Millennium, University of Hertfordshire Press, 2006, p. 153.
↑ Douglas Brode, Shakespeare in the movies: from the silent era to today, Berkley Boulevard Books, 2001, p. 240.
↑ Bevington, David (2008). "Christopher Marlowe: the late years". In Logan, Robert; Deats, Sara Munson (eds.). Placing the Plays of Christopher Marlowe: Fresh Cultural Contexts. Aldershot, England. p.209. ISBN978-0-7546-6204-4.{{cite book}}: CS1 maint: location missing publisher (link)
↑ Probes, Christine McCall (2008). "Senses, signs, symbols and theological allusion in Marlowe's The Massacre at Paris". In Deats, Sara Munson; Logan, Robert A. (eds.). Placing the plays of Christopher Marlowe: Fresh Cultural Contexts. Aldershot, England: Ashgate. p.149. ISBN978-0-7546-6204-4.
↑ Burt, Richard (2002). Shakespeare After Mass Media. London: Macmillan. p.306. ISBN978-0-312-29454-0.
↑ Portillo, Rafael; Salvador, Mercedes (2003). Pujante, Ángel-Luis; Hoenselaars, Ton (eds.). Four Hundred Years of Shakespeare in Europe. Newark, DE: University of Delaware Press. p.182. ISBN0-87413-812-4.
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