Coriolanus
Taglines:***Nature Teaches Beasts to Know Their Friends***
Yesterday, I had a visitor read a post from this blog that has enormous significance and enormous syncronicity.Someone from Atlanta, georgia read THIS The video at that link shows Bill Clinton, who is a Rockefeller surrogate, hob knobbing with his peeps. His peeps are tee vee heads. A really astounding display of elite(the high) ***beasts*** allied with proletariat(the low) ***beasts***.Former enemies tight as ticks. The hero of the video, the videographer(middle class), attempts to objectively intervene and is summarily dismissed/ejected. Alot like life,no? Thanks to you my Atlanta visitor for providing me with a stellar example of a contemporary Corialonus and how he works to destroy the middle class who he fears and dispises more then the easily manipulated and gullible(herded) lower classes(tee vee heads) who he deviously bamboozels and engineers their eventual destruction. That video is precious beyond discription.
By Eric Hynes Wednesday, Nov 30 2011
Updating Shakespeare seems doubly condescending, the implication being that we need help in relating to the text, and that the text needs to be made relevant. In the case of Ralph Fiennes's adaptation of Coriolanus—a knotty tragedy about a warrior who
refuses to kowtow to the perceived
inferiors who control his fate—the transposition to present day is confusing and counterproductive, dulling the impact of an otherwise fierce, often unbearably immediate production. (However remote
{NOT!!} Rome in the fifth century BC might be, it can't be as disorienting as a modern urban sniper fight that culminates in a mano-a-mano, "Beat It"–style blade tussle.) What saves the film is actor Fiennes's steadfastness to the character of Caius Martius Coriolanus, an irreducible anti-hero balancing a defiant integrity with damning pride. Fiennes doesn't understate the general's monstrosity—he sports frightful facial scars and barks at commoners through exaggeratedly pursed lips—but his physicality complements rather than obscures the Bard's blunt dialogue. ("Make you a sword of me." "Anger's my meat.") As blood rival Tullus Aufidius, Gerard Butler's all surface, a beard with a Scottish brogue, leaving Brian Cox and Vanessa Redgrave to remind us how it's done. They make every line seem personally conceived, surprising yet inevitable, and in the process reaffirm that exquisitely articulated words are where the drama is.