I like the storyline of this show,it attract me so much

Fantastic!

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

This film is so real. It treats its characters with so much care and sensitivity.

After watching this Twelfth Night, I vaguely remembered having seen it when it originally aired back when I was a teenager. I know it made an impression: I've had a tune in my head close to the one Michael Steele uses for Feste's closing song ever since (I recently sang it with that tune to a student, in fact, saying I had no idea where I'd gotten the melody from). My husband and I enjoyed the film VERY much. I think almost everyone involved acted wonderfully--and, of the films of TN I've seen, most fully in the spirit of the play. Most of the characters in Shakespeare's Illyria--ironically, minus the fool--are primarily GOOFY. The name of the town--a kind of portmanteau word crossing illusory with delirium--tells us what these characters are like--and how could that not be so with its kooky plot of crossed loves and crossed garters. Play it too seriously and the thing sags under its own weight. Viola and Sebastian are counterpoints to this when they first arrive in this mad world, but first she and then he enter into the spirit. Richardson (Sir Toby Belch), Moffat (Sir Anthony Aguecheek), and Alec Guinness (Malvolio) played the goofiness like veterans--trying to look anything but goofy and totally nutty as a result. Orsino and Olivia were not as polished, but not at odds with the play. Joan Plowright was tough to look at--and listen to--as Sebastian--but Viola and Sebastian were written to have been played by men (the former in drag), so it's no wonder the ladies can't quite pull it off. The greatest surprise was Tommy Steele--who was properly sly and clever through most of the play, and perfectly wistful in that final, haunting song (I grant that his transition to that wistfulness was a bit abrupt, but so is Shakespeare's). All in all I thought it a thorough romp, well worth the time it takes to watch and watch again.

Sometimes you'll see an actor who makes such a huge impression that he overwhelms the dimensions of the play. That's what happens here, only there's two of them. Sir Ralph Richardson and Sir Alec Guinness are each so powerful that they burst the confines of the performance like an exploding hot dog casing, and their combined presences unbalance the whole proportion of Shakespeare's play.Richardson's Sir Toby Belch is a magnificent drunk act, never straining to be funny, but always effortlessly conveying the character's humor. Guinness's Malvolio is also gigantic, a self-deceiving fool who is strong enough to be a physical threat to the other characters who make fun of him. His capering in yellow stockings goes beyond silly past eccentric all the way to menacing. Guinness's delivery of Malvolio's longest speech is a lesson in how to perform Shakespeare.However the play is about Viola and her travails and the unsuccessful courtship of Olivia by the Duke, and these mere mortals don't have a chance. Joan Plowright was not an experienced Shakespearian, and appears to have been spoonfed her performance by her husband, whom you may have heard of. Time and again, she rolls her eyes or finishes a couplet in a way to make you see the ghost of Lord Olivier hovering over her. It's not a bad performance, but she's too busy coping to find the humanity in the part, and overall is not terribly effective.The rest of the cast is simply obliterated. Most are fine but they don't have a chance. The glaring exception is Tommy Steele. Unknown in the U.S., he was Britain's first manufactured rock star, famous at home mostly for doing cover versions of American hits for the U.K. market. As Feste, he's merely obnoxious, seeming to think the play's about him, and that he's doing Shakespeare a favor rather than the other way round. Thanks but no thanks.There is an overrated "potluck Shakespeare" film from 1996 with a whole bunch of stars, but Trevor Nunn's direction is lethargic and diffused and sabotages almost the entire cast. The movie gets wonderful reviews from people who don't know any better, and should be avoided.For a well-balanced, almost ideal video performance of this play, the 1980 BBC version features Felicity Kendal, Sinead Cusack, Alec McCowen and an ensemble cast that just about vibrates together. It's a family, and you can actually imagine them all living in the same village together. That would remain my first choice for "Twelfth Night." But if you want to see evidence that giants once walked the earth, this Richardson/Guinness video would be a good place to start.

I must disagree with the positive comments this has received. TWELFTH NIGHT is my favorite of Shakespeare's comedies, and when you see that Alec Guiness, Ralph Richardson, and Joan Plowright are in it, you expect the best. Not so. I taped it when it was broadcast, and still have it. Joan is too old for Viola, and is LUDICROUS as Sebastian. Her male impersonation doesn't work at all. It's the worst thing I've ever seen this normally-great actress do. I was surprised that Ralph Richardson wasn't very funny as Sir Toby, as it seemed a good role for him, and I've seen him be very funny in other roles. Not here. Guiness is okay as Malvolio, but I've seen the role done better, once superbly on stage by THE THING'S Robert Cornithwaite. Worst of all is the horrible Tommy Steele, who is UNBEARABLE as Feste, giving good evidence of why his overpraised career was so short.There are much better TWELFTH NIGHTs out there to see. Hunt up the recent televised version with Helen Hunt and Paul Rudd. It was excellent! This one is a disappointment that, given the cast, has no excuse.

This fine staging of Shakespeare's gender-bending comedy is finally available on DVD! I've seen many productions of "Twelfth Night," and Joan Plowright is by far my favorite Viola/Cesario. She's convincing in both roles (and, compared to many other Violas, she might conceivably pass for a teenage boy). She is even more impressive in the final act, which requires her to add still more subtleties to her performance.In the broader comedy roles, it's hard to beat a production that includes Alec Guinness, Ralph Richardson and Tommy Steele. Steele's leering persona serves him very well here as Feste.The outstanding script adaptation abridges the play to about 100 minutes. The decision to reverse the order of scenes 1 and 2 was ingenious: it makes for a more dramatic opening and allows a type of exposition that television can do well but which could not have been done easily on Shakespeare's stage.The video on the R1 disc is slightly grainy (presumably a function of its age), and some minor glitches in the quad tape were not corrected. But these are trifles, and the production is very enjoyable.Be aware that this is a stage-like television production: a play produced on videotape. If you want something more cinematic, Trevor Nunn's 1996 film version is very good.