Titus

William Shakespeare's tragedy "Titus Andronicus" gets something of a Baz Luhrmann "Romeo & Juliet" style treatment from director Julie Taymor, in her visionary film adaptation of the play, "Titus," starring Anthony Hopkins and Jessica Lange. It's one of the more brutal and disturbing offerings from the bard, who seeks to expose the myriad chambers of darkness that can be found within the human psyche, which Taymor (who also wrote the screenplay) ferrets out and presents to optimum-- if often disconcerting-- effect. It's a tale of revenge and madness; of revenge born of grief, and madness born of sorrows layered upon sorrows that are simply beyond the endurance of mortal man, the attendant emotions of which Taymor captures in a tapestry of images plaited throughout this blood stirring drama, making it-- for better or worse (as this is one that's definitely going to "stay" with you awhile)-- an altogether unforgettable motion picture experience. A soldier for forty years, General Titus Andronicus (Hopkins) has commanded the Roman legions to countless victories on the field of battle, and along with his army is just returned home from their latest conquest. Once in Rome, Titus will oversee the ceremonial salute to the fallen and the burial of those who died in battle; then he will attend to his prisoners, the Queen of the Goths, Tamora (Lange) and her three sons. For Titus, life is in order and all is well; but though he doesn't realize it yet, all of that is about to change. Titus has four sons, but it is his only daughter, the beautiful Lavinia (Laura Fraser), who will play a leading role in the drama that is about to unfold, which begins with the untimely death of Caesar. Though it is but an opinion, when Titus is asked which of Caesar's son's he favors for succession, Saturninus (Alan Cumming) or Bassianus (James Frain), his choice holds sway, and subsequently triggers an irreversible chain of events which ultimately beget the final tragedy of the story. Before the end, however, Titus Andronicus will suffer the agonies of hell; but into that dark night, he will not go quietly. Within the first few minutes of a film, a good director will let you know what you're in for, and Taymor succeeds in doing so here. The riveting opening sequence, in which Titus and his soldiers march in hypnotic cadence into Rome, sets the style and tone for all that follows. Taymor's staging and choreography are brilliant; orchestrated to draw in the audience and hold them, and she does, in absolutely mesmerizing fashion. Set in ancient Rome, Taymor nevertheless refuses to be bound by the parameters of "era," going "out of the box" to draw upon and blend time periods in an effort to realize her personal vision and bring her imaginative presentation of the play to fruition. There are microphones, for example, in front of the Capitol; and in procession through the streets of Rome, chariots are preceded and/or followed by automobiles and motorcycles. All of which is played out against a rhythm of excitement that effectively impacts the drama, bringing it all so vibrantly to life. To find the true pulse of the story, Taymor evokes a sense of Olivier/Welles/Branagh and fuses it with a combination of Luhrmann and "West Side Story," which makes her film not only emotionally involving and compelling, but visually stunning as well. And though she draws upon the best of the best to make her film all that it can be, what you see on the screen it pure Taymor; the expression of a unique and inimitable artistic genius. As Titus, Anthony Hopkins gives a solid, if not his best, performance. His portrayal is thoroughly convincing (which goes without saying, of course, with Hopkins), but the usual pure and resonant timbre of his voice occasionally and quite noticeably falters, though his elocution remains a study in perfection. An actor who can play any role, Hopkins may always be remembered as Hannibal in "Silence of the Lambs," but without question, he was born to play Shakespeare. One would think, in fact, that his resume would be filled with cinematic adaptations of such; curiously, however, it is not. And while his Titus may be comparatively sub-standard "Hopkins," in the end, he manages to make the role his own with yet another memorable performance. Initially, casting Jessica Lange as Tamora seems an odd choice, inasmuch as this is her first foray into the Shakespearian arena. In the final analysis, however, it is very much in keeping with the less than conventional approach Taymor employs here, and Lange comports herself well with her portrayal of the malevolent Queen of the Goths. She lends a definitive physical countenance to the role, and in her eyes you can discern the shadows that plague her soul and the fire that sparks her quest for revenge. It's a performance that goes far in demonstrating that Lange is, indeed, a consummate actor, with a range that substantiates her stature as an Oscar winner. Also turning in performances of note are Cumming, who is deliciously loathsome as Saturninus; Fraser, whose Lavinia is endearingly fragile and vulnerable; and Harry J. Lennix as the manipulative, despicable Moor, Aaron. The supporting cast includes Colm Feore (Marcus Andronicus), Angus MacFadyen (Lucius), Osheen Jones (Young Lucius), Jonathan Rhys-Meyers (Chiron), Matthew Rhys (Demetrius), Kenny Doughty (Quintus), Blake Ritson (Mutius), Colin Wells (Martius), Raz Degan (Alarbus), Ettore Geri (Priest) and Constantine Gregory (Aemelius). There's no escaping the fact that the story of "Titus" is gruesome, to say the least. Many will find it offensive, even insufferable, especially the ending, which is a sordid business no matter how you slice it. But the vigor and vision of Taymor's production makes it engrossing, stimulating entertainment that is entirely accessible and will appeal to an audience that transcends hard core Shakespeare aficionados. If not madness, there is definitely magic in her method, which is more than evident on the screen. And that's the magic of the movies.

I actually saw this movie 4 times when it was in theaters in 1999. Some have made comments that all the good Shakespeare roles were taken and that Anthony Hopkins got stuck with Titus. I have to question if they actually understood the movie. Julie Taymor, perhaps one of the least appreciated directors of our time, picked Shakespeare's "Titus Andronicus" was one of The Bard's first works to be published around 1594 and may be his earliest tragedy. The story revolves around the fall of a Roman general (Titus) and the series of events set in motion by his enemy Tamora, The Queen of the Goths (played to perfection by Jessica Lang) and her sons Chiron and Demetrius (Johnathan Rhys-Myers and Matthew Rhys respectively.) Aided by Aaron the Moor (Harry Lennix), one of Tamora's lovers and the newly crowned Emperor of Rome, Saturninus (Alan Cumming), Tamora extracts her revenge on Titus in a brutal and vile manner. There are decapitations, drug use, rape, cannibalism and nudity throughout the movie so it isn't for everyone. The play itself was labeled as Shakespeare's gruesome work. It is a difficult film to watch at times because of the pure hate the brews within some of the characters and the depravity of their souls. A stellar cast that includes Colm Feore ("Chicago," "24" and 2011's "Thor") and Angus Macfadyen ("Alias," "Saw 3,4 and 5" and "Californiacation,") "Titus" is a definite must see for movies that march to a different beat. Director Julie Taymor (perhaps one of the least appreciated directors of our time) first came to fame with her elaborate and creative staging the "The Lion King" on Broadway which made history when Taymor won the Tony for Best Director of a Musical, something a woman had not accomplished prior. She is currently working with U2's Bono and The Edge on the stage musical "Spider-Man:Turn off the Dark." She has also directed the films "Frida" with Salma Hayek and "Across the Universe," a musical set to songs written by The Beatles. The next film up for Taymor is another of Shakespeare's works, "The Tempest" which stars Alfred Molina, Alan Cumming, Russell Brand and Helen Mirren. "Titus" is good, very good. But like I said before, it's not for everyone. Just be patient with the film. Like Baz Luhrmann's 1996 film "Romeo + Juilet," "Titus" is Shakespeare like you've never seen before.

non sono affatto sorpreso che questo film non abbia avuto il meritato risalto nella cinematografia shakespeariana degli utlmi decenni, stante il conformismo ignorante della critica innanzitutto statunitense. Nella recitazione siamo ai livelli del Giulio Cesare del Makiewicz del 53, e come trasposizione postmoderna rasentiamo il capolavoro visionario. Un film da avere assolutamente in videoteca.

Création esthétique et psychologique troublante, Shakespeare au plus haut et au plus sombre. La mise en scène heurtera peut-être des spectateurs trop habitués à des formats dirigés, mais rien de foufou non plus, c'est simplement créatif, un peu dans la même veine qu'Edward aux mains d'argents. Anthony Hopkins est dans son éléments, les autres acteurs ne sont pas en reste et j'ai été psychologiquement perturbé les 3 jours qui suivaient. C'est aussi la marque d'une oeuvre artistique réussie : vous toucher, que vous le vouliez ou non. Vous êtes prévenus...

Don't remember this if and when it came to theatres but this was an amazing movie! I love Shakespeare and this was one of the best interpretations of any of his plays, I have ever seen . The scenery, costumes, and music are a marvelous dance of time periods, quite surprising, but well suited to the action. Anthony Hopkins and Jessica Lang give outstanding performances as do all the other actors. The bonus features and interviews with the director are just as facinating. I only takes a little while to get into the swing of Shakespeare's English and Julie Taymor does an exceptional job of helping the audience understand. This timeless story of revenge and it's consequences has us actually cheering for Titus even as he turns barbaric. I would recommend this to all. Even if you are not a big fan of Shakespeare, this may make one of you.

A truly wonderful production that leaves the awful “recent” I’ll judged RSC version standing in the dark. The brilliant actors and intelligent director elucidate a difficult play and show both its true quality and contemporary relevance. Highly recommended.

Ich habe 5 Sterne gewählt, weil ich mich sehr unterhalten gefühlt habe, von einem Intrigenspektakel, dass voller Phantasie ist. Es hat mir gefallen: Die Blutrünstigkeit legt die menschlichen Schwächen sehr schön offen, die barbarischen Szenen sind kunstvoll inszeniert, die Schauspieler überzeugen in den allermeisten Szenen, der Film hat vieles von einem Erwachsenen Märchen, die Protagonisten sind alle sehr unterhaltsam eiskalt und skrupellos. Insgesamt eine professionell in Szene gesetzte Gewaltorgie. Es hat glaube ich nicht viel gefehlt für eine FSK18 Einstufung. Was mir nicht gefallen hat: Ich fand Jessica Lange in der Bankett Szene mittelmäßig. Ich hätte aus dem Stoff eine FSK18 Sache gemacht, um kompromissloser die Geschichte zu erzählen. Ich empfehle den Film jedem, der eine phantasievolle, faszinierende, teilweise erheiternde Gewaltorgie einer Fehde sehen will und dabei intelligente Dialoge nicht scheut.