> REVIEW
_____________________________________________________
Coriolanus (2011)
Nature teaches beasts to know their friends…
_____________________________________________________
By Matt Arnoldi | January 2012
DIRECTOR: Ralph Fiennes
WRITER: John Logan/William Shakespeare (source)
Ralph Fiennes pulls double duty in his directorial debut of Shakespeare’s play Coriolanus, providing a pugnacious tale about power, corruption, revenge and betrayal.
Opening in a city ‘that calls itself Rome’. Fiennes provides contemporary overtones to recent wars in the Balkan states, so it’s no surprise that Belgrade gets to masquerade here as the Italian capital.
In this barren gritty urban landscape, the Roman locals are restless and yearning for a leader to give them stability. Into the breach comes shaven-headed noble warrior General Caius Martius (Fiennes), a fearless soldier of high renown and para-jacketed brawn. He and his forces attack and defeat the Volsces, a neighbouring army led by Martius’ fierce rival Tullus Aufidius (Gerard Butler) in the town of Corioles and as a result Martius’ popularity rises markedly, and he gains the title of Coriolanus (‘Conqueror of Corioles’).
Encouraged by his ambitious mother Volumnia (Vanessa Redgrave), a reluctant Coriolanus strives for political power, but his outlandish extreme views spark riots and it becomes clear that as a military leader, Coriolanus is well skilled but in the field of politics, his weaknesses are manifold. Those with the gift of cunning turn the people against him and his impassioned efforts get twisted and manipulated by those more deft in the art of spin. It’s a leading disappointment for Coriolanus’ mother, wife (Jessica Chastain) and mentor Menenius (Brian Cox).
An ostracised Coriolanus vows to execute revenge on the country he loves, soliciting the help of arch-enemy Tullus. With Rome vulnerable, the only people with a chance of preventing Coriolanus from exacting abject bloody revenge are Coriolanus’ mentor Menenius and his mother Volumnia.
The play’s key themes, the manipulations and corruption of power, are seized upon by Fiennes who felt the Bard’s lesser-known work had sufficient contemporary overtones to make a film that could comment on abuses of power in the Balkan wars.
Screenwriter John Logan sought to make the poetic language in Coriolanus less dense whilst updating the story to the present-day has enabled Fiennes to retain the gist and spirit of Shakespeare’s play.
The machinations of the plot are also revealed through present-day media, thus familiar news presenters such as Jon Snow are shown commenting on the outbreaks of war. Most should take to it but some might find it a little off-putting.
Those reservations apart, there are many good points to be made about Fiennes’ debut. The film is well edited and keenly-paced. The camera-work can be edgy and exploits a variety of different angles. Crowd scenes are also particularly well executed. As are the deliciously violent and bloody war sequences.
Vanessa Redgrave as Coriolanus’ mother and Brian Cox as his mentor provide memorable turns showing great depth of emotions, with lines that warrant diplomacy, tact and skilful artistry. Gerard Butler delivers a typical workmanlike performance, while Jessica Chastain’s role is too limited and lacks characterisation, which highlights the difficulties some may have with the narrative as a whole.
Fiennes does his best to create real fire and brimstone in the belly of Coriolanus himself, yet you’re left with the feeling this skilful re-working of a Shakespeare doesn’t quite stir the passions beyond that.
Script…………………………………………………………………………………………….
Logan attempts to make Shakespeare’s language palatable, but those not well
practised in the language of the Bard may find the dialogue difficult. 3
Direction………………………………………………………………………………………..
Fiennes’ direction is assured, well paced and gloriously in your face.
A commendable first effort. 4
Verdict…………………………………………………………………………………………..
Not without its challenges, but this is an ambitious re-working of Shakespeare to
the present-day which provides a worthy payoff thanks largely to the
performances of Fiennes, Cox and Redgrave. 3
