A Director to Adapt Each of Shakespeare's Plays #15 -- LOVE'S LABOURS LOST directed by Sofia Coppola
The Plot:
Four men decide that they need to dedicate themselves to the pursuit of knowledge, so they opt to cut themselves off from one of their major distractions: the pursuit of women. Of course, as soon as they make that pledge, who should happen to arrive, but four eligible ladies. Letters are written, mixed-up and exchanged. Much blushing, giggling and fretting follows. Just when it seems that we’re heading for an ending with multiple marriages, news arrives that one of the women’s father has died. Courtin’ season’s over until next year.
Why Coppola?
This is one of Shakespeare’s most unusual plays. Looks like a comedy. Smells like a comedy. But what’s this? No marriages? A letter out of the blue reporting a death in the family? What we’re left with is a play about unrequited love. Love that persists though many of its participants have pledged their attention elsewhere. It’s a story that’s heavy on foreplay, but ends inconclusively. Other directors have explored this territory, but I’m going to give the assignment to Sofia Coppola whose Lost in Translation and The Virgin Suicides have so beautifully and effectively captured that tense, exciting moment where love starts to bubble before it is declared openly. The pacing of her films would be just right for Love’s Labour’s, as they slow the process of attraction down a few speeds so that we can cherish each step along the way. She’s also shown that she can effectively capture moments of humor amidst the romance, as well as captivate the viewer working with a minimal amount of plot. For these reasons, I suggest Coppola’s just perfect for Love’s Labour’s Lost.
S. Coppola films I have seen:
1. Lost in Translation ****
2. The Virgin Suicides ***1/2
Four men decide that they need to dedicate themselves to the pursuit of knowledge, so they opt to cut themselves off from one of their major distractions: the pursuit of women. Of course, as soon as they make that pledge, who should happen to arrive, but four eligible ladies. Letters are written, mixed-up and exchanged. Much blushing, giggling and fretting follows. Just when it seems that we’re heading for an ending with multiple marriages, news arrives that one of the women’s father has died. Courtin’ season’s over until next year.
Why Coppola?
This is one of Shakespeare’s most unusual plays. Looks like a comedy. Smells like a comedy. But what’s this? No marriages? A letter out of the blue reporting a death in the family? What we’re left with is a play about unrequited love. Love that persists though many of its participants have pledged their attention elsewhere. It’s a story that’s heavy on foreplay, but ends inconclusively. Other directors have explored this territory, but I’m going to give the assignment to Sofia Coppola whose Lost in Translation and The Virgin Suicides have so beautifully and effectively captured that tense, exciting moment where love starts to bubble before it is declared openly. The pacing of her films would be just right for Love’s Labour’s, as they slow the process of attraction down a few speeds so that we can cherish each step along the way. She’s also shown that she can effectively capture moments of humor amidst the romance, as well as captivate the viewer working with a minimal amount of plot. For these reasons, I suggest Coppola’s just perfect for Love’s Labour’s Lost.
S. Coppola films I have seen:
1. Lost in Translation ****
2. The Virgin Suicides ***1/2
posted by Joel at 12:49 AM
1 Comments:
Sofia makes great movies. She can do anything she sets her mind to.
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