DVD & Blu-ray review: Coriolanus

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Updating Shakespeare to a contemporary setting (whilst keeping the original text) has often been a source for innovative and interesting cinema –  Baz Luhrman’s update of Romeo and Juliet and the Ian McKellen starring Richard III that centres the action on a fascist dominated alternative England. However, it’s also become something of a cliché over the past few years with alterations to ‘The Bard’s’ work seemingly done out of a desire to appeal to a young demographic instead of any genuine interest in exploring the boundaries of his text. In his directorial debut, Ralph Fiennes is far from pulling a cynical marketing trick by locating Coriolanus (a role he played numerous times on the London stage) in a modern day warzone, reminiscent of conflicts in the likes of Afghanistan and Bosnia. Indeed, his deft handling and clever direction highlights the timelessness of Shakespeare’s prose.
Coriolanus (Fiennes) is a revered Roman General whose bravery is unquestionable after waging successful battles against the city of Volscia, the hated enemy of Rome. But his arrogance puts him at odds with the city of Rome and his fellow citizens. His controlling mother Volumnia (Redgrave) pushes him to enter the Senate and Coriolanus dutifully does so. However, Coriolanus must ingratiate himself with the Roman public – difficult when he considers the masses to be unworthy and beneath him.  After an incident in which the public question his qualifications to rule Rome, an outburst by Coriolanus sparks a riot and his banishment from Rome. Thirsty for revenge, he turns to Tullus Aufidius (Butler), the leader of Rome’s sworn enemies and vows to destroy the city that once held him in high regard.
It’s almost eerie how relevant Shakespeare’s play is to the current era: dealing with ideas of popular insurrection, the arrogance of the ruling classes and the violence of war, there’s an angry yet philosophical quality at the heart of the text.  Fiennes updating seems utterly right. His blends the aesthetics of the war movie (and there are some particularly impressive and hard hitting battle scenes) with the more static settings of the political drama (with the requisite sets of grand civic halls and courtrooms), and the text never seems at odds with surrounding and despite the origins of the film. Fiennes just about manages to avoid the stagey and gives a pleasingly grandiose feeling to proceedings. Indeed, the decision to make the film in Serbia may have come about due to cost issues but the complex history of the country seems to have added a certain frisson to the film and its themes.
Unsurprisingly, the performances are excellent, with Fiennes bringing a steely eyed determination to the lead whilst Redgrave is vaguely terrifying as the ambitious mother who will do anything for her son. Butler also makes fine support as the grizzled Volscian soldier who will do anything to tear Rome apart. And it’s hard not to give praise to the bevy of British actors (amongst them Brian Cox and James Nesbitt) who do a solid and impressive job, though one wouldn’t expect anything less.
The film would be unlikely to convert those who can’t stand Shakespeare – whilst the visuals are impressive, the heart of the film is still the text on which it is based and it is wonderfully served by the performers. Fiennes has proved himself to be a director with a keen eye yet respect for his source material and – on the grounds of this debut –  should be one whose future work should be waited for with anticipation.

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Updating Shakespeare to a contemporary setting (whilst keeping the original text) has often been a source for innovative and interesting cinema –  examples include Baz Luhrman’s update of Romeo and Juliet and the Ian McKellen starring Richard III that centres the action on a fascist dominated alternative England. However, it’s also become something of a cliché over the past few years with alterations to ‘The Bard’s’ work seemingly done out of a desire to appeal to a young demographic instead of any genuine interest in exploring the boundaries of his text. In his directorial debut, Ralph Fiennes is far from pulling a cynical marketing trick by locating Coriolanus (a role he played numerous times on the London stage) in a modern day warzone, reminiscent of conflicts in the likes of Afghanistan and Bosnia. Indeed, his deft handling and clever direction highlights the timelessness of Shakespeare’s prose.

Coriolanus (Fiennes) is a revered Roman General whose bravery is unquestionable after waging successful battles against the city of Volscia, the hated enemy of Rome. But his arrogance puts him at odds with the city of Rome and his fellow citizens. His controlling mother Volumnia (Redgrave) pushes him to enter the Senate and Coriolanus dutifully does so. However, Coriolanus must ingratiate himself with the Roman public – difficult when he considers the masses to be unworthy and beneath him.  After an incident in which the public question his qualifications to rule Rome, an outburst by Coriolanus sparks a riot and his banishment from the city Thirsty for revenge, he turns to Tullus Aufidius (Butler), the leader of Rome’s sworn enemies and vows to destroy the city that once held him in high regard.

It’s almost eerie how relevant Shakespeare’s play is to the current era: dealing with ideas of popular insurrection, the arrogance of the ruling classes and the violence of war, there’s an angry yet philosophical quality at the heart of the text.  Fiennes updating seems utterly right. His blends the aesthetics of the war movie (and there are some particularly impressive and hard hitting battle scenes) with the more static settings of the political drama (with the requisite sets of grand civic halls and courtrooms), and the text never seems at odds with surroundings, despite the origins of the film. Fiennes just about manages to avoid the stagey and gives a pleasingly grandiose feeling to proceedings. Indeed, the decision to make the film in Serbia may have come about due to cost issues but the complex history of the country seems to have added a certain frisson to the film and its themes.

Unsurprisingly, the performances are excellent, with Fiennes bringing a steely eyed determination to the lead whilst Redgrave is vaguely terrifying as the ambitious mother who will do anything for her son. Butler also makes fine support as the grizzled Volscian soldier who will do anything to tear Rome apart. And it’s hard not to give praise to the bevy of British actors (amongst them Brian Cox and James Nesbitt) who do a solid and impressive job, though one wouldn’t expect anything less.

The film would be unlikely to convert those who can’t stand Shakespeare – whilst the visuals are impressive, the heart of the film is still the text on which it is based and it is wonderfully served by the performers. Fiennes has proved himself to be a director with a keen eye yet respect for his source material and – on the grounds of this debut –  should be one whose future work should be waited for with anticipation.

The Blu-ray includes featurettes and a commentary by Fiennes.

Coriolanus is released by Lionsgate and is available now