A MIDSUMMER NIGHT’S DREAM

US, 1999, 116 minutes, Colour.
Kevin Kline, Michelle Pfeiffer, Stanley Tucci, Rupert Everett, Callista Flockhart, Dominic West, Christian Bale, Anna Friel, David Strathairn, Sophie Marceau, Roger Rees, Sam Rockwell, Gregory Jabara, Bill Irwin, Robert Wright Penn, Bernard Hill, John Sessions.
Directed by Michael Hoffmann.

A Midsummer Night’s Dream is one of Shakespeare’s most celebrated comedies. It was filmed in the 1930s with a cast which included Mickey Rooney and Olivia de Havilland as well as James Cagney. This 1999 version is a star-studded production. The screenplay was adapted from Shakespeare by its director Michael Hoffmann. Hoffmann has made a number of films, quite varied in their styles, including The Emperor’s Club, One Fine Day (also with Michelle Pfeiffer), Restoration and Soap Dish.

The film was made in Italy with lavish Italian settings, a late 19th century setting. However, despite the Italianate look, the Greek names are used as well as the focus on Athens. A great deal of attention has gone into the Italian background, the town, costumes and décor.

The film has both English and American actors, each using their own accent which makes for something of a mix-up. Kevin Kline enjoys himself and is given prominence as Bottom. Michelle Pfeiffer is the Queen of the Fairies while Rupert Everett is Oberon. Stanley Tucci is an unusual choice for Puck.

The lovers are portrayed by Dominic West and Christian Bale, Callista Flockhart and Anna Friel, with David Strathairn as the Duke and Sophie Marceau as Hippolyta. The mechanicals also get some prominence with Roger Rees as Peter Quince, Sam Rockwell as Flute and Bill Irwin as Snout.

The film captures the atmosphere of the midsummer night, the life of the city, the comedy of the mechanicals rehearsing and then performing their play as well as the mix-up with Titania falling in love with Bottom and a mix-up with the lovers.

A Midsummer Night’s Dream is a matter of taste – eccentric in its way, a touch of frivolity for a summer production.

1. The various versions of Shakespeare in the 1990s? This film influenced by them, especially by the work of Kenneth Branagh and Baz Lurman?

2. The play itself, its status amongst Shakespeare’s comedies? A frolic? An outdoor entertainment?

3. The film’s use of Italian settings, the late 19th century, the costumes and décor, the atmosphere of Italy, the beginnings of the mechanised age but the decorum and the style of the 19th century? The musical score – and the use of Verdi, La Traviata as well as Rossini? Mendelssohn’s incidental music for A Midsummer Night’s Dream including The Wedding March?

4. The quality of Shakespeare’s verse and its recitation, the American accents, the British accents, their combination?

5. The staging of the comedy, the forest, at court, the marketplaces?

6. The story of Theseus and Hippolyta, framing the play? Duke Theseus and his rule of Athens, a sober ruler, just? The plea from Egeus for judgment about his daughter? The lenience shown by Theseus? His love for Hippolyta, her wilfulness? The end, the judgment about the lovers, his decisions, their marriage, his ordering Egeus to obey? The staging of the play, his choice of Pyramus and Thisby, enjoyment?

7. The lovers, the mix-up with the romance? Hermia and her love for Lysander, Demetrius wanting to marry her, the place of Helena? Egeus and his arranging the marriage for his daughter, her defiance? Their going to the woods? Puck and the drops, the mix-up, Lysander and his rejection of Hermia, infatuation with Helena? Demetrius and his love for Helena? The romance, the chases? Puck having to change the eye drops? The happy ending, the couples, found together in the woods, the judgment of Theseus, the marriage, their participation in watching the play?

8. The fairies, Oberon and his disdain, Titania and her condemnation of Oberon? Puck and the other fairies, in the woods? Oberon and his decision with the eye drops, Puck and his administering them – and making mistakes? Titania and her waking to find Bottom? His donkey’s head? Her infatuation and his response? Oberon and having to rectify the situation? Titania and her reconciliation with Oberon? Puck and his observations on human natures and ‘what fools these mortals be’?

9. Puck, his age, character, messenger, confidant of Oberon, his mission, mistakes, watching in dismay, rectifying the situation?

10. The mechanicals, Peter Quince and his exasperation in trying to direct the play? Flute and his awkwardness, not wanting to be Thisby, the comedy with his voice? Snug and his observing everybody, with the messages about which play to put on, the disappearance of Bottom? Snout and his shyness, having to be the wall?

11. Bottom, his place in the town, his eyes for the ladies, his rhetorical style and performance? The argument about Pyramus and Thisby? His accepting the role, the rehearsals, his interaction with the other mechanicals? His being transformed into a donkey – and their fear, running away? Disaster for the play? His being returned to normal, his coming to perform? The performance of the play, Flute and his being moving as Thisby, removing the wig, the audience moved to tears?

12. The happy resolution of all the problems? A happy ever after? A Shakespeare ‘entertainment’?