With Sheila Atim playing both Viola and Sebastian, this film of Twelfth Night has many a highlight even if it is ultimately overlong
“You will hang like an icicle on a Dutchman’s beard”
As a debut for both Shanty Productions and Adam Smethurst as screenwriter and director, this Twelfth Night is an intriguing thing. At a more than healthy 2 hours 45 minutes, its slavish adherence to the text can feel like a bit of a challenge as it occasionally feels like it is moving at a glacial pace. On the other hand, it has Sheila Atim doing double duty as shipwrecked twins Viola and Sebastian and so it proves a great showcase for her.
Filmed over a single month in West Sussex on an economical budget, this contemporary imagining of Shakespeare’s tale of mistaken identities and affections gone haywire benefits from some astute casting. Shalini Peiris’s Olivia is younger than the average but it’s a choice that makes sense of her impetuous nature, and leaning into Antony Bunsee’s experience makes for a compelling Malvolio, the unlikeliness of any relationship between them all the more stark for once. Continue reading “Film Review: Twelfth Night (2018)”
“There is a way to be good again”
The final moments of this rendering of Khaled Hosseini’s epic 2003 novel The Kite Runner
are really something special indeed, capturing the quiet ecstasy of redemptive hope with the subtlest of performances and a theatrical elegance that is gently breath-taking. But Giles Croft’s production, first seen in Nottingham and making its way next to Liverpool, takes a long time to get there, hobbled by a pedestrian adaptation by Matthew Spangler which exploits little of the storytelling possibilities within and lacks the excitement to really make it soar into the sky alongside the multi-coloured kites that play such a vital role in this tale of two young Afghan boys, Amir and Hassan, and their unlikely friendship.
It’s improbable because Hassan is the son of Amir’s father’s servant and belongs to a different ethnic group yet despite their differences, a strong bond exists between the pair, typified by the way they work together in the kite flying competitions that enliven their Kabul childhood. A brutal incident involving Hassan sets in chain a tragic turn of events though and as the heavy tide of history starts to turn, forcing Amir and his father to flee the war that erupts as the incoming Taliban take over Afghanistan, not even decades and continents can prevent the need for Amir to seek redemption.
The sweep of the story is certainly grand but Spangler’s script is mired in the prosaic and banal, overly focused on the descriptive and rarely delving into the rich emotion beneath the surface. Ben Turner’s Amir perfectly epitomises this dilemma, only intermittently able to bring the necessary depth of character to this conflicted young man as he constantly has to duck in and out of scenes to give us the next segment of narration, but he is good at showing us the boyish cowardice that Amir struggles to grow out of. For those able to stay in the scenes though, there’s much more compelling work, especially from Farshid Rokey as the fiercely loyal Hassan and latterly as Hassan’s son, he of the enigmatic smile, Nicholas Karimi as the sociopathic Assef who finds his spiritual home in the harsh regime of the invaders and from Emilio Doorgasingh as Amir’s father, who never loses his pride even as he is forced into menial work when they start their new, very different life on the west coast of the USA.
But though the cast are effective, the sense of unused potential pervades this production, exacerbated by the moments that do flare into gorgeous life. The kite flying scenes are mesmerising in their simplicity, the moonlit escape across the mountains most effective, the first meeting with the attractive daughter of a fellow ex-pat. Hanif Khan’s onstage table-playing adds an authentic rhythm to many of the scenes, but Barney George’s design is largely too polite to ever suggest heat and dirt and real life, whether in Kabul’s back streets or San Francisco’s flea markets. What it does provide is cool elegance and a chimerical ability to quickly shift, aided by William Simpson’s projections, ensuring a fluid journey throughout.
Whilst the story will move you – surely only the hardest of hearts could remain unaffected – this production rarely transports you. It is undoubtedly somewhat entertaining and the near-complete standing ovation is testament to that, but The Kite Runner is seldom exciting enough to fully exploit its theatrical potential and really involve us with the grandly epic emotion of its storytelling in a presentation that invents and inspires such as in that glorious final scene.
Running time: 2 hours 40 minutes (with interval)
Booking until 25th May, then playing Liverpool