CLASSICAL TRAGEDY WITH A MODERN RESONANCE
Ralph Fiennes' directorial debut Coriolanus displays a spark of sheer genius and fortuitous timing. Coming as it does months after the Arab spring and in the wake of the economic crisis across Europe, by setting a Shakespearean tragedy against the backdrop of a war-torn country in economic and political disarray, it illustrates the timelessness of one of the Bard's most under-rated plays. Indeed, in terms of its protagonist's heroism it's second to none, and in fact, some may hardly view brave Coriolanus' contempt for the fickle masses as a flaw at all, although it does become the cause of his downfall.
Fiennes marries his contemporary Roman setting with Shakespearean dialogue and while it works beautifully for most part, sometimes the union seems uneasy -- particularly when Gerard Butler, playing the adversary Aufidius who hates Caius Martius (Fiennes) later rechristened Coriolanus -- mumbles his lines. But watch Fiennes, on the other hand, piercing the screen with his chilling blue eyes and delivering every nuance in every line masterfully, effortlessly, you can only sit back and marvel.
Ditto for the majestic Vanessa Redgrave, who plays Martius' domineering mother Volumnia -- "Had I a dozen sons, each in my love alike and none less dear than thine and my good Martius, I had rather eleven die nobly for their country than one voluptuously surfeit out of action," she proudly declares to her daughter-in-law (Jessica Chastain).
Or returning from a successful war waged on his sworn enemy and conquering the city of Corioles, Martius is bestowed his title and persuaded to become a consul. However, while a great military leader, he's hardly suited to play to the public gallery and in fact, is embarrassed enough to walk out of the room when the senate sings praises of his latest conquest. Yet, his advisor and well-wisher Menenius (Brian Cox) persuades him to talk to the people on the street and in one of the film's many remarkable scenes, the soldier's encounter with the public turns into a massive PR disaster, further fanned by his detractors and ultimately leading to an angry outburst from him and his banishment from the state.
That's how little it takes for voters to exercise their rights and for politicians to use them for their short-sighted gains. Too proud to stay in the city that humiliated him and eager for retribution, Martius joins his sworn enemy Audifius and swears revenge on Rome.
Shot by Barry Ackroyd who also worked on The Hurt Locker, apart from the frenzied hand-held cinematography, this film also shares a thematic thread with the Oscar-winner -- a soldier's inability to adjust to civilian life and the psychological toll of warfare. Hardwired to be a ruthless fighter, it's hardly a wonder Martius has no patience for political wheeling-dealing.
The timelessness of Shakespeare's vision and Fiennes' astute directorial touches make for a compelling film that's perhaps not suited to every film goer's taste, but for those who appreciate cinema off the beaten track, Coriolanus is the place to be this week.
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