CORIOLANUS

UK, 2011, 122 minutes, Colour
Ralph Fiennes, Gerard Butler, Vanessa Redgrave, Bryan Cox, James Nesbitt, Jessica Chastain, John Kani, Paul Jesson.
Directed by Ralph Fiennes.

The name is not readily on the tip of the tongue, not even for many Shakespeare buffs. The plot is not well-known. Julius Caesar, yes. Even Titus Andronicus for many. But, Coriolanus?
Ralph Fiennes has performed the role on stage and has not only starred in this cinema adaptation (adeptly abbreviated by John Logan from Shakespeare’ long text) but producing and directing. Fiennes shows a sure hand in direction and, of course, brings Coriolanus to vivid life himself.

As with Ian Mc Kellen as Richard III in the 1990s, Coriolanus is brought into the present, echoing most forcibly the Balkan wars of the 1990s. And, filming was done in Serbia and Montenegro, with Belgrade itself standing in for Rome. Strong stuff.

One of the best features of the film is the manner of reciting Shakespearean verse or, rather, speaking it with rhythms that are close to ordinary speech, making the lines comprehensible and dramatically effective. Only at a few key points does Coriolanus declaim and it is appropriate. This is a non-declamatory film, the cast using a tone that is far from less than loud – and all the more persuasive.

While this is true of Ralph Fiennes himself, it is true of Vanessa Redgrave’s fine performance as Volumnia, Coriolanus’ proud, even militaristic mother, a possessive, ambitious and warlike woman whose love for her son is sometimes alarmingly intense but is the key to the resolution of Coriolanus’ crisis of pride and revenge against the Rome that disowned him.

Brian Cox is effective as Coriolanus’ mentor, Senator Menenius. Gerard Butler seems somewhat stolid as the leader of the Volsci, Aufidius. The other impressive members of the cast are Paul Jesson and James Nesbitt (Northern Ireland accent and all – to Gerard Butler’s Scot’s tones) as the powerful tribunes that engineered the ousting of Coriolanus.

There are some savage battle sequences (tanks and explosions) and some hand to hand fighting between Aufidius and Coriolanus. Shakespeare’s tragedies and histories all have bloody moments and Coriolanus is no exception, although they fit well here.

A key factor in Fiennes’ interpretation is the role of protests. Some protestors are genuine. Some are rabble rousers. Some are vicious. And all show that they can be manipulated by the politically shrewd (be they protestors or politicians).

And the media. Coriolanus is no charismatic television personality. He certainly does not play to the crowd or the media gallery (rather against it). In a reality TV parallel, he is quickly voted out by the public and made to leave Rome.

Shakespeare’s focus is on the state and order in the state, hubris and its consequences, leading to a personal revenge. As in Shakespeare’s other plays, order in the state is restored but at a cost.

1. The impact of this version of Shakespeare’s play? Interest, entertainment, thought and reflection? As an adaptation, the setting to the 21st century? Contemporary war and politics? Ideologies, ambition and power, power struggles, the role of the media, the role of the public, TV and popular voting?

2. The text, pruned from Shakespeare’s long play, keeping the essentials, the plot being clear, the clear moral issues: civic duty, pride, revenge, loyalty, love, a mother’s love, heroism, betrayal and death?

3. The spoken style of the actors, less declaiming, a quieter approach, conversation, modulations and rhythms, for a 21st century audience and sensibility?

4. The filming in Serbia, Montenegro, Belgrade, the look of the city, the countryside, the overtones of the Balkan Wars of the 90s? The emphatic score?

5. A place called Rome, its look, the buildings, the Senate? The media opportunities? The public squares? The references to ancient Rome in the text, the populace, uprisings, famine, grain and storage, regulations, protests? The Roman names? Their credibility – and the Roman customs, the references to the gods?

6. The action sequences, in Rome, the riots at the granary, Caius Martius and his interventions? The Volsci and the battles? Aufidius and his battles with Martius? The use of tanks, guns, weaponry? Evocative of contemporary warfare?

7. The character of Coriolanus and Ralph Fiennes’ interpretation? Strong man, tough, rules, not a demagogue, a warrior, exacting in the application of regulations? The strong influence of his mother, his wife and son? Going into action, the battles against the Volsci, his being wounded? The fight with Aufidius, the past encounters, the rivalry yet admiration? The troops thinking him dead, his appearing through the smoke? The return to Rome, the triumph, the honours? The title of Coriolanus? The public wanting him to be consul? His lack of ambition? Yet his pride? His unwillingness to speak to the media, to the people? No public debates? The enmity of the two tribunes, their rousing up the crowd against him, his being unwilling to bend, Senator Menenius and his appeal, his mother’s appeal, the presence of the family? The tribunes and their twisting the facts, the hubbub, their shrewdness, turning the people against Coriolanus? The rabble at the beginning of the film, their leaders, the would-be assassin? The tribunes being able to manoeuvre them, a pact between them? The line for decision about Coriolanus: exile? His reaction, Menenius, the family?

8. The television, British Channel Four newsreader Jon Snow and his being used, authentic, his Shakespearean lines, delivered as news? The importance of television, the BBC/CNN image and running track at the bottom of the screen, giving information and updates? Jon Snow’s discussion with the commentators about the war and the exile?

9. Aufidius, his being defeated by Coriolanus, the duel? Watching the television, amazed?

10. The effect of the exile on Coriolanus, his wandering, sleeping in the open, his hair grown, his beard, rough? His going to Aufidius? Aufidius failing to recognise him? Offering to be an ally? Coriolanus’s hubris, the motivation of revenge? The attacks on Rome, the reaction of the people, the tribunes, Menenius? The successful attacks against Rome?

11. Concern in Rome, Menenius sent to plead with Coriolanus, Coriolanus rejecting him? Menenius going to the river, slitting his wrists?

12. Coriolanus’s mother and family, coming to plead, the reasons? Coriolanus thinking? The long impassioned speeches by Volumnia, the nature of her motherly love, intense, possessive, bellicose? Very close? The effect on Coriolanus? His finally agreeing with his mother? The solemn signing of the peace, the documents? His mother and her continually wearing military uniform? The role of the previous consul, his support of Coriolanus at the beginning, wanting the peace, signing the peace?

13. Coriolanus and his generally being quietly spoken, yet determination and steel, the sequences of his declamation and passion, rousing?

14. The peace, Volumnia, Rome?

15. The reaction of Aufidius, his despising of what Coriolanus had done, of Coriolanus’s mother? Coriolanus and his coming to Aufidius, not expecting to be surrounded, the stabbing, his death – and Aufidius with the knife which was sharpening sharpening at the opening of the film? The symbol of the knife at beginning and end?

16. The overall impact of the film? As a Shakespearean experience? For those not familiar with Shakespeare? How successful for Shakespearean purists? The handling of a difficult play like Coriolanus?