Measure for Measure

Don't let the Shakespeare part frighten you away. Granted this is not an 'easy' film the way that "Shakespeare in Love" was, or even any versions of "Romeo and Juliet" that you may have seen in the theatre within the past whatever. This is a tale of the price of lust, the quality of mercy and what is true justice.

The BBC filmed the complete Shakespeare folio, and this is part of that. More importantly, this is one of my favorite plays and by far THE best adaptation of it I have ever seen. This is one of Shakespeare's later "problem plays" and as such, actors and experts have been debating it's meaning since it premiered. But I think that makes it challenging, not unintresting. Given that, this production is especially fortunate in it's actors and it's directing choices. First and foremost Kate Nelligan's Isabelle is marvelous. Unlike most modern actors, she seems to understand the true beauty and dedication of this character. Also unlike most modern actors, she understands the religious dedication of this character, not as cold fanatism, but as a passionate persons love of religions greater purpose. That as an atheist I respect her portayal of such, is a testament to her skill. Kenneth Colley and Tim Piggot-Smith are also excellent as the seemingly cold and inscrutable characters of the Duke and Angelo, respectively.

In fact, this play's staging 'improves' the play, in that several problems with the time, that Shakespeare just ignored, are nicely resolved. There is some dialogue left out, but most of it is stage direction that is unnecessary in a television production. Yes, the language is authentic, but trust me, you won't notice after awhile, just give yourself time to immerse.

All in all, a good time, despite it's being a few hundred years old, but that's why Will is the man!

In closing let me just say, that I highly recommend this to anyone, but especially if you love Shakespeare.

Among the Shakespearean comedies known as the "problem plays," MEASURE FOR MEASURE is especially problematic. The sumptuous language is glorious (albeit intermittently opaque), but the characterization is troubling. Though the Duke is clearly presented as a character to be assessed favorably, his devious manipulation of the other characters and his presumptuousness in his closing interaction with Isabella are disturbing.

Still, this production is superb. The acting is impeccable throughout, with an especially riveting performance by Kate Nelligan as Isabella and with very strong performances by Christopher Strauli as Claudio, Tim Pigott-Smith as Angelo, John McEnery as Lucio, Frank Middlemass as Pompey, Jacqueline Pearce as Mariana, Kevin Stoney as Escalus, Alun Armstrong as the Provost, Ellis Jones as Elbow, and Yolande Palfrey as Juliet. Kenneth Colley in the central role as the Duke is also impressive, though he sometimes moves or positions his body quite curiously.

The sets are fine, and the generally dark lighting (until the final scene) befits the ethical atmosphere of Vienna. The very short fifth scene of Act IV is undamagingly omitted, and there is some modest trimming elsewhere; but the vast majority of the lines are delivered uncut. The BBC performed a great public service with this production.

Have a lot of love and appreciation for William Shakespeare, right from studying 'A Midsummer Night's Dream', 'Macbeth' and 'Much Ado About Nothing' in school. His plays have such memorable characters and most have very interesting stories and themes, but it is his way of writing and use of language (always have been fascinating and so much fun to study and analyse) that is the main reason or so to me as to why he and his work is so highly regarded. When it comes to play-writing, although there are some truly great ones, Shakespeare is the quintessential one.

Quality-wise, not all the late 70s/early 80s Shakespeare adaptations forming a series from the BBC are great, but they are still of great interest value and it is great to see productions that are generally faithful and respectful and have distinguished casts. Most with performances that are good or more, not all mind. Even if some have problems with over-faithfulness, lack of imagination and under-budget, and not all the performances in the series have worked for me. 1979's 'Measure for Measure' is one of the best of the series, a terrific introduction to the play and for me it is the first choice. 'Measure for Measure' itself may not be one of Shakespeare's greatest but it does deserve to be known more and performed and adapted more.

Few of the productions in the series are perfect, and some are heavily flawed, this 'Measure for Measure' is near perfect. Some of the language doesn't sound authentic and fit more in a contemporary setting, which jars a bit with the traditional text and production values.

On the other hand, 'Measure for Measure' is an appealing production visually. Not all the productions in the series are, but the simplicity of the sets works here and doesn't look dull or cheap, the colourful costumes stopping either from happening. Actually liked that the prison had a stuff of horrors atmosphere and the use of the cyclorama gave the way the actors moved from one place to another a flow without interrupting what was going on. The photography doesn't fall into the trap of being chaotic, nor does it fall into the trap of being static, the action feels intimate while with enough parts that open things up. The staging never loses flow or energy, the more comedic elements being genuinely amusing, the darker ones suspenseful and the emotional ones genuinely poignant. It is always tasteful, everything serving a point and with no gratuitous or bad taste touches.

A big part of the production's appeal is the acting which is so good that for me it is one of the best-acted adaptations of the BBC Shakespeare series. The wonderful text being delivered by actors with a command of the style and delivering it with feeling and a sense that they know what they're talking about. Occasionally, and there is an emphasis on that, Kenneth Colley tries too hard, but on the whole he is a very sympathetic and compelling presence especially considering he wasn't even the first choice for the role (Alec Guinness was but he turned it down). Kate Nelligan is a touching Isabella and Tim Pigott-Smith's Angelo is menacingly lecherous. Christopher Strauli's interpretation of his final scene is a production high point and one of its most emotional moments, while John McEnery enjoys himself without mugging. Alun Armstrong is always a plus and he doesn't disappoint.

Summarising, terrific and the production of choice of a somewhat under-appreciated play. 9/10 Bethany Cox

In "Measure for Measure," Shakespeare gives us no character as an entry point to this acid discussion of justice vs. mercy, religious faith and hypocrisy. Virginity, assaults thereon and reputations at stake are once again pivotal questions. The low comedy characters, often tedious irrelevancies in other plays, are here in the bordello trade, and for once their stories resonate with the main narrative.

We must consider "Measure for Measure" as a comedy, since all the characters live and many of them marry at the end, yet we as an audience are not really allowed to get comfortable at the twisty conclusion. The dramatic resolution is strangely prolonged and the aftertaste is a queasy one. I doubt this is the favorite play of all that many admirers of the Bard.

That being said, this video is a very satisfying production. The director, Desmond Davis, keeps the pace up at all times - there is no flagging of energy or movement. The visuals are unfamiliar compared to others in the series that deliberately reference Old Master paintings. Yet the images are uniformly precise, effective and gratifying to behold.

A word of admiration for the tracking shots of characters walking down the endless streets of Vienna. The television studio configuration is often the set constructed at one end and the camera observing at the other. However, for this day's shooting, the street set was constructed in a circle hugging the four walls of the studio, with cameras and cast walking around inside it. Nicely done.

The cast is almost uniformly satisfying. Kate Nelligan, who has been known to be dreary on some occasions, brings off perfectly the goodness and persuasiveness of Isabella, without ever becoming sanctimonious or annoying. Tim Pigott-Smith excels as the predatory hypocrite Angelo, an ancestor of his memorable Captain Merrick in "The Jewel in the Crown." John McEnery as the loudmouth dandy Lucio, Frank Middlemass and Adrienne Corri as the bawds deserve special mention. A highlight is Christopher Strauli's finely calibrated jailhouse speech, in which Claudio first commends his sister's decision not to save his life by giving in to sexual blackmail, and gradually decides that he loves living enough that perhaps she should disgrace herself after all.

A major theme in the whole BBC series is bringing Shakespearian speech down to conversational volume for TV, after centuries of ritualized shouting in theaters. Kenneth Colley as the manipulative Duke almost takes it too far, as his language sometimes descends to liquid baritoning at the expense of diction. He also moves his head too much for the camera, eyes rolling and skull oscillating from side to side.

According to Susan Willis's book, Colley was the 32nd actor approached for the part, the first choice being Alec Guinness, but then you can't always get what you want. Between extended rehearsal schedules and unimpressive money, casting this whole series must have been a mammoth exercise in frustration.

However, these are minor annoyances in the scheme of things. All in all, major cheers for an excellent production of a disquieting play.

First, I want to praise John McEnery for his wonderful performance which steals the show. Next, I'll say that this is a must watch for one looking for a faithful adaption. I could see this video being played in schools (if MFM were to ever be assigned over Macbeth, R&J, Othello, etc.)