User reviews

I have to admit that I don't really care for most of Shakespeare's comedies, which involve huge casts, pairs of lovers, and a lot of talking at chance meetings. So it is with AS YOU LIKE IT, which I suspect for most people will only be really enjoyable as a lot of scattered scenes performed by some really good actors. That said, it's been going on 20 years (!) since Branagh first started directing these Shakespeare extravaganzas, so what point has he gotten to? First, the bad points, then the good points.

After almost 20 years, it's clear that Branagh has almost no new ideas when it comes to moving the camera around. A lot of the shots and gimmicks have been ripped straight from HENRY V and MUCH ADO ABOUT NOTHING. Sometimes they're simple and effective and the right choices; other times, the recycling is just embarrassing.

Second, Branagh continues to bite off more than he can chew by attempting novel or gimmicky stagings of these venerable old plays as films, a trend that he began with HAMLET (Four Hour Hamlet! No Lines Cut!), carried through to LOVE'S LABOURS LOST (an ambitious failure, but still a failure with a Capital F) and now here with an AS YOU LIKE IT set in Japan, a choice comprehensible only because Branagh explains it to the audience with several title cards. Which means, it's an incomprehensible choice because he has to explain it so much. This is the sort of adventurous staging that works OK on the London stage, where there are 100 Shakespeare stagings a year and this sort of transposition is expected in order to keep things fresh. But on film, it is mostly confusing (although very pretty).

Now for the good things, and they are very much worth noting as hopeful signs for the future of Branagh's grand Shakespearean experiment.

The casting in this film is almost uniformly excellent. Branagh has (mercifully) abandoned showy stunt casting in favor of assembling a diverse cast that actually can act and actually has Shakespearean experience. Kevin Kline, David Oyewelo, the lovely Bryce Dallas Howard, Adrian Lester, Alfred Molina, Romola Garai (a real surprise)... you're in good hands with all these performers, which is not something you could say of a Branagh Shakespeare film since HENRY V. Furthermore, Branagh has stopped the nonsense where anyone can just show up on these films sporting whatever accents they like, regardless of the film's time or place setting (which was tolerable in MUCH ADO, but silly in HAMLET and excruciating in LOVE'S LABOURS LOST). This film is about English characters: so everyone's got an English accent, even the Americans. Thank God. Branagh has also managed a way to cast fine actors of color without trying to make us believe that a black actor and white actor are siblings (MUCH ADO, again).

Bryce Dallas Howard -- dare I say it -- it a better actress and more luminously beautiful and commanding a screen presence than Emma Thompson was in MUCH ADO ABOUT NOTHING.

Even more surprisingly, Branagh has also given his faithful old company of secondary players from the old Renaissance Theatre Company -- you'll recognize them from his previous films -- room to actually act like the professionals they are. Brian Blessed doesn't quite pull it off in a dual role, and well, Richard Briers is ubiquitous in Branagh's films, but Richard Clifford, Jimmy Yuill, Gerard Horan and Patrick Doyle are given a little bit more to do and it's a real asset to the film. These performers assist in giving AS YOU LIKE IT -- dare I say it (dare I even hope it) -- the earthy, humanistic feel that made his HENRY V so very memorable. Which leads one to wonder: WHY did Branagh go for all this flash and glitter with Hollywood stars (starting with MUCH ADO) in the first place, eventually leading to the train wreck that was LOVE's LABOURS LOST? Why didn't he just stick with the approach that worked so brilliantly with HENRY V - still one of the greatest Shakespeare films of all time? For God's sake... BRING BACK THE RENAISSANCE THEATRE COMPANY!!!!

If Branagh has not really grown as a director, this film shows that his creative team -- cinematographer Roger Lanser, production designer Tim Harvey, and composer Patrick Doyle -- continue to do him just as good service as ever, and even seem to kick it up a notch.

The verdict? A problematic film, one that might not appeal to everyone, and decidedly less showy or fun than his popular MUCH ADO... but all in all, a definite step forward for the great Branagh Shakespeare film project. He should get another chance from HBO Films to do another one.

Seeing As You Like It, William Shakespeare's romantic comedy of mistaken identity brought back memories of an amateur production of the Carousel Theater here in Vancouver many years ago in which my son David played a small role. It was a wonderful presentation that thoroughly captured the genius of Shakespeare's delightful imagination. Unfortunately, the new filmed version by Kenneth Branagh with its big budget and professional cast is not in the least bit as convincing or entertaining. It is miscast, over produced, over acted, and simplistic with its multi-layered plot made easier to follow than Sesame Street.

Set in Japan in the 19th Century after the country was opened to the West as a trading partner, the royalty of England have been reinvented as wealthy merchants living on the Japanese seacoast. Neither the opulent backgrounds nor the conceit of the script, however, has any impact on either understanding or enjoyment of the play and the setting seems to be simply a marketing decision not an artistic one. The film opens with a kabuki scene at the court of Duke Senior (Brian Blessed). His brother Frederick, also played by Blessed with black hair, interrupts the proceedings to forcibly overthrow his brother's dukedom and the elder Duke is banished to the Arden Forest. Orlando, played by the Nigerian born David Oyelowo, and his brother Oliver (Adrian Lester) then proceed to fight over their position in the court.

Oliver, aligned with Frederick, entices his brother to take on a 300-pound sumo wrestler to all but certain doom but, as the script will have it, the underdog prevails in spite of a weight differential of about 150 pounds. In addition to being victorious at sport, he also falls for one of his well-wishers, the attractive Rosalind (Bryce Dallas Howard), daughter of Duke Senior. Fearful of her safety at the court, Rosalind, pretending to be a man and, taking the name of Ganymede from the handsome cup bearer to the Gods in Greek mythology, sneaks out with her cousin Celia (Romola Garai) and the clown Touchstone (Alfred Molina) to seek out her father in the Forest of Arden. Soon they are joined by Orlando who also fears for his life after a fight with his brother Oliver over their inheritance.

Before long, a bunch of other personages wander into the film including a melancholy philosopher named Jaques (Kevin Kline) who is described as "an exiled courtier", a young shepherd Silvius (Alex Wyndham) who pursues his reluctant girlfriend Phebe (Jade Jefferies), and others. Curiously, there are two characters named Jaques and two named Oliver, something that most writers would go to any length to avoid. The play is best noted for the cynical soliloquy chronicling the seven ages of man, "All the world's a stage and all the men and women merely players: They have their exits and their entrances, and one man in his time plays many parts", delivered with properly dour expression by Kline.

It would not be a Shakespearean comedy without some gender confusion and Rosalind, after noticing Orlando's love poems neatly positioned on trees all over their neck of the woods, knows that Orlando loves her. Approaching Orlando in her boy disguise as Ganymede, Rosalind endeavors to teach him the finer points of courtship if he would just pretend that he is a she. She uses her charm to seduce Orlando, but also is drawn reluctantly into a relationship with the shepherdess Phebe. In Elizabethan conventions, this meant that a boy playing the girl Rosalind would dress as a boy and then be wooed by another boy playing Phebe.

Quite naturally, this being a comedy and all, everyone ends up happy, (dramatized in a finale of the utmost silliness by Branagh) except for Jaques who, in character, decides not to return to the court. All the pieces are in place for the film to be successful but there are key elements that work against it. For the play to work at all, Rosalind has to be believable as a young man. If she is not, Orlando looks like a complete fool, and the play is robbed of its intended homoerotic playfulness. In this case, Branagh does not even attempt to have Rosalind look masculine and the scenes with Orlando in which he/she is teaching him how to express his love are unconvincing (unless you read it that Orlando goes along with the ruse and the author is simply making a statement about role playing, the masks people wear (himself?) in life, and the inauthenticity of self).

Rosalind is supposed to be pure, innocent, perhaps a little naïve but definitely virtuous. Howard, however, is very un-maiden like in appearance and manner and lacks any noticeable chemistry with her lover. She tries so hard to put the correct inflections in the words that she robs them of whatever poetry they might have had, conveying the impression that she is trying out eagerly for a grammar school play. This is Branagh's fifth attempt to put Shakespeare on film and I'm sure it won't be his last. After achieving considerable artistic but not financial success with the first three, he has opted in this latest film for less of an artistic statement than an overtly commercial approach. Love's Labours Lost was an unmitigated disaster – scorched by the critics and shunned by audiences. Unfortunately, As You Like It may follow in its path.

On the whole, I agree with the many reviewers before me who praise Kenneth Branagh in general and "As You Like It" in specific. So, I don't have to reiterate their comments here. I am writing to rebut the review by teacher_tom516 who completely misunderstands the movie, the play and the term "suspension of disbelief." Starting with the last, Samuel Taylor Coleridge called it "the willful suspension of disbelief," the tacit agreement made by the audience to leave reality at the door of the theater and accept the production's conceit as a temporary new reality. All theater, with the exception of the mercifully brief 19th century flirtation with "Realism/Naturalism", recognizes that it is an illusion to try to present "reality" on stage. Shakespeare certainly knew that and even tells his audience this in several of his plays (Henry V, Hamlet, The Tempest, A Midsummer Night's Dream, etc etc). His comedies are allegorical -- more subtly, so are his tragedies and even histories. His audiences accepted the premise without caviling over clocks striking in "Julius Caesar" and wild animals from different continents nonchalantly coexist. Shakespeare's Forest of Arden wasn't named for the Belgian Ardennes but taken from Lodge's romance "Rosalynde," from which Shakespeare cribbed his plot and characters. It is a magical place not found on maps -- it is the "Bitter Wood" of Medieval legend, the place where humans must face themselves, with or without Yoda. Arden was also Shakespeare's mother's family name. The writer plays the name game with the characters, seemingly unaware that Shakespeare's names are often chosen for their metaphoric associations. Falstaff is a "false staff" to Prince Hal. Why Orlando? Not because it's an Italian courtier's name, but because it's the Italian translation of Roland, the name of one of two legendary brothers-in-arms in the reign of Charlemagne, immortalized in "The Song of Roland." The other brother-knight's name was... Oliver! Also, It's Jaques, not Jacques, and may have been pronounced "Jakes", Brit slang for bathroom, which might be taken as ironic since he is such a pessimist, unlike his opposite, Touchstone, whose name might be taken as the iconic test of Truth. Do the hodge-podge of names in Hamlet disturb teacher_tom516? Claudius? Polonius? Laertes? Rosencrantz and Guildenstern!?

His biggest complaint is about the Japanese setting. Obviously, he didn't read the opening on-screen explanation Mr. Branagh thoughtfully provided for the edification of anyone interested in it. Is the Meiji Japan of the imagination be any less exotic than the locale of "A Winter's Tale" -- "the coast of Bohemia."? Bohemia doesn't have a coast -- it's completely landlocked. Oh yes, how absurd a scrawny kid could throw a Sumo wrestler? That's the whole point. Ever hear of Jack the Giant-killer? Beware people who confuse the truths of fairy tales with the factoids of spreadsheets. Yes, Shakespeare plays fast and loose with facts - so do creative directors interpreting his plays. As Miguel de Cervantes said, "One should never let facts get in the way of Truth." He also said, "Facts are the enemy of Truth."

While the Japanese setting seems like more of a gimmick than anything, this 2006 adaptation of As You Like It is treated much too harshly in my opinion.

Bryce Dallas is charming and funny as Rosalind, while David Oyelowo is sweet and hilarious as Orlando. The two have excellent chemistry. Romola Garai and Alfred Molina are great as as Celia and Touchstone, the two funniest characters in this version. And Brian Blessed, well, he's always excellent and here he gets the chance to wear samurai armor in the opening. About my only complaint cast-wise is Kevin Kline as Jacques; he does not leave the impact he should and disappears into the forest scenery.

The settings and costumes are beautiful, as to be expected from a Branagh Shakespeare production. The comedy is well-done altogether, though once the film is over, it does not leave the impression it should. I don't know, it's missing something that the 1979 Helen Mirren version had. Maybe it's because this version cuts so much of the material out in an attempt to make it more accessible to a mainstream (and presumably young) audience. Worth watching though.

I no longer await Branagh's _King Lear_ with bated breath and, in fact, would stop it from happening at all had I the superpowers. I hadn't heard good things about _AYLI_, but I went into it with an open mind and enjoyed the first half hour sorta.

Then it struck me how (again) how much I despise Branagh's taste in film music; then it struck me how much Alex Wyndham sounded like he was imitating or channelling Branagh; and then I was struck by Kevin Kline's ability to be misused in Shakespearean films (well, 2 outta 3).

Unbelievably Branagh has almost ruined his _Much Ado about Nothing_, one of my favourite films ever, with this one. This was such a slavish imitation of his own style that he has permanently damaged my ability to enjoy the original. The odd setting seems to have no purpose and mostly detracts. The casting of Brian Blessed as brothers is not successful -- one is always still looking at Brian Blessed. There are a few nice moments, but they are mostly buried in Branagh-isms.

As You Like It is my favorite Shakespearean comedy, and my high expectations of the new Branagh version were not put to shame. Set in a lush, beautiful forest in an imaginary old Japan, populated by people of all races, this version is an innovative and modern one rather than a conventional and classical one - and it works.

The female main characters, Rosalind, Celia, Phebe and Audrey, are all immensely good, effortlessly throwing around both unbridled enthusiasm and unwavering character acting. In fact, Celia is near to outshining Rosalind; only her obviously bleached hair detracts from her charm.

The male characters are, sadly, far less distinctive, with the exception of Alfred Molina's Touchstone, who's delightfully silly - almost too much so. Kevin Kline's Jacques is not bad either, but he doesn't really steal the limelight to any great extent, the way he perhaps should. In a production as colorful as this one, Jacques greyness gets a bit lost.

(Edit: I will say that this version gains from repeated viewings. It is a great modern adaptation of Shakespeare's perhaps most joyous comedy.)

I did feel that a lot of the original text was missing, and this, as is so often the case with Shakespeare movies, is this production's worst shortcoming. Not enough of the delightful Rosalind rhymes which almost define the play ("Winter garments must be lined / So must slender Rosalind") are included, which is a grave, grave error in disposition. If this play was often made into movies, that judgment might be justified, but since the play is adapted so rarely, it cannot be.

The overall filming and cinematography are excellent, however, with plentiful gentle camera movement and many close-ups, focusing admirably on the strong emotions exchanged between the characters, and the language is fluid as well as florid, spoken in a very modern, sometimes even casual, tone, as we have come to expect from Branagh's very accessible Shakespeare films.

We are many who wonder why this film has not received a wide cinematic release. It has been shown only on a few film festivals, and this January it will be out on DVD, at least in Italy. Is it going straight to DVD without a run in international theaters? Why?? Is it really seen to be so obscure and uncommercial that no distribution company will commit to it? If so, distributors should be ashamed.

My rating: 9 out of 10.

William Shakespeare is better known for his serious tragedies involving kings and queens. "As You Like It" is about as silly as Shakespeare gets. You know a Shakespeare comedy is about couples who end up together after mistaken identity crisis. In this updated version with a diverse cast of characters is set in Japan in the 19th century, director and screenwriter and Shakespeare expert Kenneth Branagh did a splendid job in directing this mostly outdoor set film which was actually shot in the English countryside than the Japanese countryside where it's actually set in this film. The cast is excellent featuring Branagh's favorites like Richard Briers and Brian Blessed in the cast. Janet McTeer is barely recognizable in the role. The costumes, hair, and make-up are first rate. Bryce Dallas Howard is remarkable as Rosalind although her drag get-up as a male character is hardly believable. Adrian Lester is an actor to watch out for in the future. He has done Shakespeare in Britain himself. The silliness of Shakespeare's comedies shows another side to the legendary scribe. He can be silly, pretentious, and entertaining. It doesn't have to be depressing, morbid, or just sad in his works.

Kenneth Branagh seems to get a fair bit of stick in some places, and I'm never quite sure why. Whether it's because he picks unfashionable projects to direct or star in, or because he comes across as a theatrical English "luvvy", I don't know. But for me, his lonely (almost solitary) championing of modern big screen Shakespeare adaptations has always been cause for celebration. Time and again he has sought to make the bard's literature not only appealing and comprehensible to the audience of today, but also relevant - to show that Shakespeare has always got something to say about society and people. If nothing else, English teachers worldwide must be relieved there are alternatives to showing kids the more archaic Olivier golden oldies.

His latest adaptation, As You Like It, is no exception. For those unfamiliar with the play, it's basically a romantic comedy, with a bit of political drama thrown in for good measure. Here the action is relocated from Middle Ages France to 19th century Japan (stay with me), when the country was being opened up to the West. A small group of Western settlers have more or less set up their own private kingdom here. You can find a detailed plot synopsis elsewhere on the web I'm certain, but I'll try and summarise it anyway: Rosalind (Bryce Dallas Howard) is the daughter of Duke Senior (Brian Blessed, with long white hair), who is usurped by his own treacherous brother, Duke Frederick (Blessed again, with dark hair this time, doing the usurping in a neat wordless sequence). Senior is exiled to the forest with his followers, while Rosalind is forced to remain and keep Frederick's daughter Celia (Romola Garai) company. Frederick becomes paranoid though, and banishes Rosalind as well shortly afterwards. Celia, best friends with Rosalind, decides to accompany her; naturally, both are forced to disguise themselves, which causes complications when the one Rosalind loves, Orlando (David Oyelowo), declares his undying love for her.

Bright, breezy and instantly accessible, Branagh has come up trumps. Staying behind the camera this time out, the cast is led by Bryce Dallas Howard, in a performance that will surely (if there is any justice in the world) attract awards attention. The part of Rosalind is one of the most popular and sought after female roles in all of Shakespeare. She is sweet and kind, but not simpering - she's quite decisive too. She is the dynamic behind the play's actions, and Howard seizes the role with everything she's got. The supporting cast are uniformly excellent too - the legend that is Brian Blessed is always great value, and he does well here in his dual role, particularly the evil Frederick. David Oyelowo is also excellent, while Alfred Molina is very funny in the comic relief role of Touchstone, the court fool. Look out too for Patrick Doyle, the film composer who provides the score here but also performs on screen in the singing role of Amiens.

Obviously the unique spin on this adaptation is the setting. The play is mostly set in the forest of Arden, so nature is a prominent theme throughout. Branagh highlights this by moving the action to pre-20th century Japan, where beauty and peace can be readily found in nature. The film is gorgeous to look at, not only in the forest settings, but also in the 'court' during the first act's coup d'etat - the sets and costumes look brilliant.

I won't try and argue that this is going to be the best film of 2007, because I'm sure that would be nonsense. The film has faults, although some of these might be attributed to the source material (with which I'm not familiar) - one or two characters seem to disappear halfway through, while Duke Frederick's fate is a cop-out even by Shakespeare's standards. But the important thing is that Branagh has made the play very easy to follow, very humorous and also given it a contemporary edge, as well as making an entertaining film in its own right. And for that, he surely deserves a cheer at least.

I urge anyone to seek the film out, whether you're interested in Shakespeare or not, because it is simply great fun. Here's hoping Mr Branagh continues to get his films funded and made.

You have to applaud Branagh's attempt at turning AYLI into a luscious Hollywood version accessible and engaging to modern audiences. It starts off great, the setting being translated to imperial Japan. But other than the introduction making us aware of this and some different scenery to what one would expecting England throughout, that's where the conversion ends really. It is a half hearted conversion. And because of the change in setting I don't think the themes and great relationships come through as well as they should. Overall the performances are sound but not life changing. Alfred Molina is a memorable Touchstone. There aren't many vesions of AYLI available to watch on screen so I would say to watch this but in accompaniment with the 2010 RSC version which is available online.

This version of As You Like It is only for those who speak fluent Shakespeare. For that matter, the 1936 version is also for the same audience. If you're like me and have an extremely difficult time following the complex language unless certain actors are speaking, you might not get through either one. Richard Burton isn't in this movie, so I had a tough time.

One thing you should know before you rent this one is the locale has changed. Kenneth Branagh has reset As You Like It in feudal Japan. I thought for the first ten minutes I'd rented the wrong movie; it was more like a James Bond movie than Shakespeare! There are enough action scenes, samurai swords, fistfights, and sumo wrestling to distract you long enough until the actors start speaking. Then, it's every man for itself.

If you like the cast, you might want to give this one a shot. Adorable Bryce Dallas Howard takes the lead (and a convincing British accent) as the young girl banished to the forest who pretends to be a boy so no one will recognize her. Her traveling companions are Romola Garai and Alfred Molina, with a hairdo so ridiculous he doesn't even have to open his mouth to be the comic relief. Bryce's love interest, with such terrible eyesight and judgment that he can't recognize his girlfriend with curly, red tendrils falling out of her cap, is David Oyelowo. He has a feud with his brother, Shakespearean veteran Adrian Lester, and while on his own separate quest in the forest, he bumps into the meditating philosopher Kevin Kline. Kevin gets to recite the "All the world's a stage" famous monologue, but unless you're really paying attention, you might miss it.

Unless you're really paying attention, you might miss a lot, since this Shakespearean movie requires every ounce of concentration. There are no free passes, so unless you're fluent try something easier first.

DLM Warning: If you suffer from vertigo or dizzy spells, like my mom does, this movie might not be your friend. Many of the camera movements are too fluid, creating a 'follow the bouncing ball' effect that might make you sick. Also, in the very end there's a huge camera spin. In other words, "Don't Look, Mom!"

Kenneth Branagh takes the Bard to Japanese setting the time being the late 19th century.As You Like It (2006) tells about Rosalind, the daughter of banished duke.She is raised by his younger brother Frederick, who took over dukedom.She falls for a young man named Orlando, but also she is soon banished by Frederick.Her cousin Celia leaves with her.They go to the forest of Arden, and they take the fool Touchtone with them.And also, Rosalind is disguised as a boy, and she goes by the name of Ganymede, while Celia goes by the name of Aliena.Also Orlando happens to be in the same forest, fleeing the wrath of his older brother.William Shakespeare wrote the original, pastoral comedy, around 1599 or 1600.I read it some time ago.Shakespeare sure knew how to write of love, and it is all well adapted to the screen here.And there are also mighty fine players in this play.Let's start with Bryce Dallas Howard, whose work as a boy is almost as good as her work as a girl.Romola Garai is a real treat as Celia.Brian Blessed is great both as Duke Frederick as he is as Duke Senior.David Oyelowo is terrific as Orlando De Boys.Adrian Lester is very good as his brother Oliver.Richard Briers gives a very fine performance of Adam.Alfred Molina is superb as Touchtone.And so is Janet McTeer as his love interest Audrey.Kevin Kline is brilliant as Jaques.Jade Jefferies is marvelous as Phebe.This may not be the funniest thing I've ever seen, nor was the play the funniest thing I've ever read.Maybe I'm too modern and should think more medievally.But it all works because of the words, and the grand feelings it has to offer.And sure I found myself slightly amused when Phebe went head over heels for Rosalind/Ganymede.Branagh shows us that Shakespeare works also in a new environment, in a new era.

How dumb do you have to be to watch a Shakespeare film and then complain, like certain reviews here, that it has Shakespeare's dialogue? What did you expect? Apart from anything else, the dialogue - the poetry of the greatest-ever writer of English - is the whole point. Without that, you have only a highly improbable story made up of contrived situations connected together only tenuously. With it - if it is well performed - a golden, magical glow of love and wit. If you don't understand it, rather than expecting it to be dumbed down to your level you should be prepared to put a bit of work in, read the play over slowly and puzzle it out - or else just admit that it is over your head. But don't blame the play for your own deficiencies.

I'm not fond, though, of the modern fashion for productions with apparently random, irrelevant concepts - in this case old-time Japan - to which Branners adds by his insistence on casting American stars who (inevitably) can't really handle the dialogue.

This movie is actually a lot better than i thought it would be! The beginning of it had me pretty hesitant, and i was confused why they set it in Japan, but it surprised me with its development later on! I was in a production of this play in February 2022, and it was really fun to see the differences in this one.

The actor of Rosalind is beautiful, and they also did really well with adding in humor.

It's awesome that they decided to cast POC for the De Boys and some other characters. It's very hard to find POC in Shakespeare, so that was a pleasant surprise.

And while the creators did make a couple questionable choices, it still was very well done, even until the end when they broke the fourth wall with the epilogue!

KB has never been any less than the most ham-fisted of directors but with this film he finally manages to succeed in completely smashing poor Willy the Shake into a mashed-up pulp. Branagh's usual, undecided "style" - combining wooden theatricality with sudden and meaningless camera swoops that so very often miss the mark - resembles a picnic table after the party is over, leaving our senses smeared with an appalling residue of pretty much every reference you can find in the film dictionary, while its strangely out of place Benatton-ad cast fumble their way through the absurdly chosen Samurai world they've been instructed to make believable. Time and time again this hodge-podge of a piece seems to steer its way strangely into comedy, jarring to halt midstream as it - and we - realize it's completely devoid of anything particularly funny, unless you find a scrawny black Orlando knocking out cold a massive Sumo wrestler with a series of unbelievably silly slapping motions knock-down hilarious. What's most unfunny is that even such wonderful actors of the caliber of Romola Garai and Janet McTeer become unwitting victims, their performances buried beneath atrocious camera work and god-awful staging. Mr. Branagh needs to back off from parking on the director's chair, or the future of Shakespeare finding its way onto the big - or small - screen is sure to be very bleak indeed. And that would be a tragedy.

Kenneth Branagh, aside from being a gifted actor with an enormous range of creative character abilities, has once again brought Shakespeare to life on the screen. His previous excursions into the bard's repertoire have included 'Much Ado About Nothing', 'Henry V', 'Love's Labours Lost', 'Hamlet', and 'Othello', and now he adds one of the bard's most successful comedies AS YOU LIKE IT to his list of successes. Branagh has the gift of making the visual aspects of Shakespeare's stories enhance the language and in doing so he makes Shakespeare sound like brilliant conversation (which it of course is) instead of stilted and brittle old English.

The 'gimmick' used here by Branagh in adapting Shakespeare's play is placing the action in 19th century Japan, and while other less sensitive directors might have opted to insert parody here, Branagh instead makes the story seem all the more plausible - the two feuding brothers (one dark and one light) whose struggle over their estate opens the play before credits with an ingenious silent drama of black leather feudal costumed men invading a genteel house party of lovely people enjoying a Japanese dancer's performance. The original brother is banished with his clan to the Arden forest and there the magic begins. Love between several couples is played in all its manifestations with disguise, misconceptions, lust, and poetry until the play's rollicking end in a song of Hey Nonny Nonny! The lovers include the disguised Rosalind (Bryce Dallas Howard) and Orlando (David Oyelowo), Celia (Romola Garai) and Oliver (Adrian Lester), the court fool Touchstone (a brilliant Alfred Molina) and Audrey (Janet McTeer), and Sylvius (Alex Wyndham) and Phoebe (Jade Jefferies). Brian Blessed plays the roles of both feuding brothers with style and authority, and Kevin Kline offers a fully realized Jaques - the character who is given the most memorable soliloquies in the play. The settings and imagery (Tim Harvey) are artistic and beautiful and captured with style by cinematographer Roger Lanser, and as with all of Branagh's production the music score (here by Patrick Doyle) is letter perfect and atmospheric.

But in the end the kudos go to Kenneth Branagh for his consistent courage and conviction that Shakespeare's plays are timeless, and his devotion to bringing them to the contemporary audience is to be applauded. This is a fine film - one to own! Grady Harp

This movie is beautiful! That's right. That's my whole review.There are stylised Komonos and rich 1890-ish Western costumes. A palette of amazing reds, maroons and rose colors set against a magical green forest with ancient towering trees and exotic oriental marshes. The romantic comedy element is all about being in love; being giddy with all consuming love. The Shakespearean words are edited short and crisp and are delivered naturalistically and effortlessly by the likes of Kevin Kline and Brian Blessed. Of the leads, David Oyelowo stands out as a very masculine and handsome leading man and Bryce Dallas Howard (an American) more than holds her own with the mostly British cast. Perhaps due to Branagh's pruning of the tesxt, I also found listening to, and understanding As You Like It just as effortless as the actors' delivery. I'm not an English teacher nor an Elizabethean scholar and this movie spoke to me, taking me on a wonderful escape. (NOTE: make sure to watch all the way through the credits.) It is obvious that Kenneth Branagh puts his whole soul into his movies. Thank you, Kenneth!

I cannot make up my mind whether the play is bad (it's not Shakespeare's greatest) or the film is bad (it's definitely not Branagh's finest hour). I think it's a bit of both. I went in with high expectations (after Branagh's Henry V, Much Ado About Nothing, and Hamlet), but hated the whole enterprise from start to finish.

The music was poor, Rosalind was mis-cast, and the whole Japan setting was a really bad idea that did not work.

I hope this was just an aberration on Branagh's part and he can return to form. He is capable of excellent work with Shakespeare's plays, but this is a bad choice of play, badly done.

One may have little regard for As You Like It and still feel that chopping it to pieces and scattering the bits over the vernal salad of Arden is not a recipe for success. Cut two-thirds of the play as Branagh does and what remains? A string of sketchy vignettes without the time or the text to breathe, develop and resolve. At best the film can be likened to a volume of illustrations, providing discrete visualizations of key moments with threadbare results.

And yet. While this movie is filled with things that I have little use for--colorblind casting, thematically pointless multiculturalism, Kevin Kline--I found it surprisingly watchable. The Japanese setting does not distract overmuch, and it largely vanishes once we reach Arden: a forest is a forest. Most of the performers are capable, and a few--Adrian Lester, David Oyelowo, even Brian Blessed--are better than that. Some of the scenes are played with conviction and warmth, and are even moving. This isn't a good As You Like It, or a good film, but it's the first piece of Branaghian Shakespeare since Henry V that isn't a complete waste of time.

I generally like Kenneth Branagh's adaptations of Shakespeare's plays - Henry V, Much Ado About Nothing and Hamlet were superb - but this one didn't work for me. Overly complex yet quite dry. Plus, if you're not that familiar with the Shakespeare play (and I'm not) you need to follow the dialogue to figure out what's happening, and that's no easy thing.