Where there's a Will in this comedy, there's a way out of writer's block

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By Robert W. Butler
The Kansas City Star
Published: Fri., Dec. 25, 1998


Outrageously clever and endlessly inventive, "Shakespeare in Love" is a
romantic comedy for those who actually think it's cool to be smart.

With a witty screenplay by Marc Norman and Tom Stoppard, a surprisingly
light touch from director John Madden ("Mrs. Brown") and a large cast
overflowing with fine performers, it's a heady mix of physical comedy
and delicious mind games, all wrapped up in a gorgeous production.

This bit of literary speculation finds the Bard of Avon, one Will
Shakespeare (Joseph Fiennes), struggling with a killer case of writer's
block. It's literally a "killer" in that unless Shakespeare comes up
with a hit play, his boss -- the hapless theater owner Philip Henslowe
(Geoffrey Rush) -- will be at the mercy of the ruthless Elizabethan loan
shark Fennyman (Tom Wilkinson).

But the words won't come for Will's next opus, "Romeo and Ethel, the
Pirate's Daughter." The terrified Henslowe isn't asking for anything too
extravagant -- just a lot of slapstick and an audience-pleasing trained
dog. Shakespeare, however, cannot bring pen to paper.

Until that is, he spies the virginal Viola De Lesseps (Gwyneth Paltrow),
the daughter of a rich merchant. Though she's betrothed to a brusque and
bankrupt lord (Colin Firth), Will initiates a torrid affair with this
beautiful young woman. Suddenly "Ethel, the Pirate's Daughter" seems
trite and empty. What Will wants is to write a story that reflects his
own newly discovered passion. Out goes the slapstick and the performing
dog. Enter the tragic "Romeo and Juliet."

(One of the film's running gags is that Will is always overhearing
memorable lines in everyday conversation -- "A plague on both your
houses!" -- which he eagerly jots down in his notebook and recycles in
iambic pentameter.)

Meanwhile Viola yearns to appear on the stage. Of course, women are
banned from performing, so she pulls on male clothing, pastes a wispy
beard to her chin and auditions for a role. She's immediately cast as
Romeo (although Shakespeare, not recognizing his beloved in drag,
wonders why he's drawn to this young actor).

Much of "Shakespeare in Love" is giddy fun. In its final scenes, though,
the film turns to something serious -- the power of art to entice and
transform. As Shakespeare's crew of ego-driven, backbiting thespians
rehearse his new play, they become immersed in something so much bigger
than themselves. Even the ruthless moneylender Fennyman, who hangs around
the theater to protect his investment, is swept up in the thrill of
creation and is reduced to tears of joy when cast in the small role of
the Apothecary.

Fiennes and Paltrow make a strikingly handsome couple, but one of the
film's great strengths is the depth of its cast. An uncredited Rupert
Everett pops up as Christopher Marlowe, Shakespeare's writing rival;
Simon Callow appears as the killjoy Tilney, the Queen's Master of the
Revels; Ben Affleck is a vain actor who is delighted to play Mercutio
until he learns his character is being killed off halfway through the
play; Antony Sher is a Renaissance shrink to whom Shakespeare goes for
therapy.

Reigning over them all, though, is Judi Dench as Queen Elizabeth, an
intimidating but amusing old bat who sees through every ruse and
fabrication, rules with an iron hand and exercises a droll sense of
humor appreciated only by herself -- and lucky moviegoers.



To reach Robert W. Butler, movie editor for The Star,
call [phone] or send e-mail to [e-mail]