Coriolanus

Shakespeare wrote for all eras. That is the principle argument for updating his work to contemporary settings, and generally its one I agree with. As far as cinematic adaptations go, the key texts in this regard are Baz Luhrmann’s Romeo + Juliet and Ian McKellen’s take on Richard III. Although adapted from a less well known play, this directorial debut from Ralph Fiennes is almost in the same league.

Coriolanus concerns a Roman general returning to the capital after a successful military campaign. Once there, certain powers (including his overbearing mother) want to make him consul, but he lacks the necessary political niceties, and as a result his popularity amongst the people plummets. Scheming senators who fear he will make a tyrannical ruler conspire to have him exiled, and as a result Coriolanus finds himself allied with his most hated adversary in a vengeful scheme to overthrow Rome.

Ralph Fiennes truly excels throughout, not just in the title role, but as a director. Taking his cue for the likes of Paul Greengrass, Fiennes proves adept at conjuring a gritty atmosphere through the immediacy of hand-held camera and bleak locales that visually echo the recent Balkan and Afghanistan conflicts. These contemporary reference points have obvious resonance with current events, especially the recent Arab Spring. Screenwriter John Logan uses Shakespeare’s original text, but strips it down to essentials so as to emphasise such elements.

The idea of a contemporary Roman Empire comes off very well, especially in scenes with television news anchors and pundits (including an amusing John Snow cameo). The supporting cast chew scenery well, especially Brian Cox and Vanessa Redgrave who both provide electrifying turns. Gerard Butler and James Nesbit are also surprisingly good, and Jessica Chastain (my new favourite actress based purely on her performance in The Tree of Life) does very well in a somewhat limited role.

Although I was unfamiliar with the play, I enjoyed Coriolanus very much. It was everything a Shakespeare tragedy should be – gripping, bloody and relevant.

Simon Dillon, January 2012.