MEASURE FOR MEASURE
Australia, 2019, 107 minutes, Colour.
Hugo Weaving, Harrison Gilbertson, Daniel Henshaw, Doris Younane, Mark Leonard Winter, Fayssal Bazzi, Megan Smart, Gerald Lepkowski, Josh Mc Conville, John Brompton, Malcolm Kennard, Christie Whelan- Browne.
Directed by Paul Ireland.
Measure for Measure is one of William Shakespeare’s lesser-known, less popular, plays. And, it is not a play that has lent itself to cinema versions. Macbeth is the play most adapted for the screen and dramatised in different social contexts (and centuries), while Romeo and Juliet is the most popular romance. With Measure for Measure, there are Macbeth tragedy aspects and Romeo and Juliet romance.
In 2006, there was an adaptation of Macbeth set in the criminal world of Melbourne. In 2018, here is Measure for Measure set in this 21st-century Melbourne criminal world.
Writers, Damian Hill and Paul Ireland (who also directed) have made films set in Melbourne’s western suburbs (Pawno, West of Sunshine). For this drama, they stay closer to the central business district, centred in the high-rise flats as well as in the suburbs where migrants and refugees from Islamic countries now live. This racial and religious tension is to the fore in Measure for Measure. And it is in this context that the writer’s place Shakespeare’s central characters and central situations – but without the Shakespearean language!
Hugo Weaving reminds us of what a great screen presence he is – an ability to communicate with body language, facial expressions, and with calm, even reticence. Here he is Duke, crime kingpin, ageing, terminal illness, yet still keeping a tight control on crime activities, especially in the drug world. He is indebted to Angelo (Mark Leonard Winter in a very striking performance, reminding us in looks of a young Daniel Day Lewis), who served prison time in place of Duke and who seems, despite his erratic nature, drugs, hyper- violent outbursts, to be Duke’s successor and has the opportunity to prove himself. He is accompanied by a rather creepy associate, Luigi (Daniel Henshaw with the Mohawk haircut).
The other aspect of the drama is the romance. There is a violent occasion in the park and in the streets when a drug-addled man takes his gun and shoots, shockingly, with racist intent and then at random. A young musician, Claudio, Harrison Gilbertson, encounters a young Muslim woman, Jaiwara (Megan Smart). There is quite some tenderness in their relationship, getting to know each other, falling in love, but Jaiwara falling victim to the intensity of her brother, Farouk (Fayssal Bazzi, so significant in Stateless), with his own small thug kingdom, and his interpretation of Islamic law and intermarriage, the role of Allah, family and honour.
Claudio becomes a victim, drugs planted, sent to prison, desperately unable to face his sentence, and, with the key twist from Shakespeare’s play, Angelo wanting Jaiwara to pay sexual price for the release of Claudio.
Which means that there are many dramatic tensions in this film, Duke and his relationship with Angelo, especially when he learns of Angelo’s proposition; Jaiwara and her relationship with her mother and her brother and broadening his limited horizons; Farouk and the conflict with Duke and Angelo.
Perhaps those who know something of Shakespeare and Measure for Measure will find this film intriguing as it brings the Shakespearean characters and themes into a 21st century context and 21st-century morality.
1. The title? Shakespeare’s play? Contemporary adaptation? Characters and plot? Not the poetry?
2. The Melbourne sitting, the city, high-rise flats, interiors, rooms? The suburbs, the streets, the trams, the parks? Prison scenes? Wasteland outside Melbourne? The musical score?
3. The world of Melbourne gangsters, Due and his control, his history, drugs and crime, violence and vengeance, prison time? Yet his calm demeanour? With his sick dog? With his own illness? The thugs, the drug deals, the drug man going berserk, racist shooting? The various criminals, responsibilities? The clash with the Muslim criminals?
4. Duke’s story, his wife and daughter killed in the accident, his vengeance on the driver? The doctor and his sympathetic treatment, not witnessing against him? The consequences for Claudio, his grandson? Duke, quiet personality, yet ruthless? Living in luxury? His relationship with Angelo, Angelo going to prison for him, Angelo as a surrogate son? His knowing Angelo’s limitations and vices? Yet putting him in charge? Going on holiday, the apartment with his minder, the cameras and screens, his observing what was going on? The enmity with Farouk and his men?
5. Angelo, his personality, drugs and dealing, alcohol, manic personality? Going to prison, his loyalty to Duke? Lukey as his accompaniment, advisor? The clash with Farouk? The episode with the berserk gunmen? One of his drug customers? His vicious bludgeoning him to death? Duke, discussions with Sutherland? His hold over him? Sutherland and the confrontation with Farouk? Angelo getting out of jail, Duke appointing him his successor? Angelo and his reluctance?
6. Claudio, his music, drugs, witnessing the killings? The encounter with Jaiwara, the attraction, sharing? Her personality, Muslim background, dress? The discussions, the continued meetings, the credible falling in love? Plans? Farouk, his fanaticism, interpretation of Islamic law, religious beliefs? Issues of honour and honour killings? His associates? The confrontation with Cloutier? Sutherland and the planting of the drugs, Claudio’s arrest, treatment in prison, his desperation?
7. Jaiwara, at home, the clashes with her brother, her wanting greater freedom? The clashes with her mother? Memories of her father? Wanting to approach Duke, the meeting with Angelo, his sexual proposition (key to Shakespeare’s play)? Jaiwara talking with Claudio, his desperation, consent, his later repenting an apology?
8. Duke, Percy as his associate, advisor, minder? The approach to Jaiwara? The discussion in the restaurant, her explanations, Duke telling the story of Claudio’s grandfather?
9. Angelo, drugs and drink, his relationship with Jenny, the buildup to the night, the phone call with Duke, Duke watching him on the screen? His lies? Jaiwara going to see him, undressing, fade to black? Angelo waking, the board wilted flashbacks in memories? The revelation of his alcohol being drugged?
10. Duke, the confrontation with Farouk? For Claudio to be released? Farouk picking the couple up in the car, his declaration of beliefs, faith, disgust? The abandoned field? Letting them go?
11. Claudio and Jaiwara at the airport, the farewell from her mother? Farouk and his disgust?
12. Angelo, his bewilderment, his bashing Lukey? On the top of the building, looking down, the gun, Duke arriving, their talk, have Duke taking the gun? Angelo looking down, the close of his face, his suicide?
13. Duke, with Percy, sitting quietly, the new dog, not wanting medical treatment for his cancer? Lukey sudden arrival and shooting him?
14. Shakespeare’s title? And its meaning in the context of the Melbourne gangsters and their world?
