IIRC, the confrontation between Goneril and Lear in that one had to be shot multiple times, because Dorothy Tutin kept breaking down in tears in the face of Olivier's Lear.

Yep. It's completely devastating, that version. I have it on tape, and I can watch it maybe once every five years - too powerful to digest easily. And - another reason I loved it - unlike Olivier's Hamlet and Henry? I forgot I was looking at World's Greatest Actor Ever. All I saw was Lear.

Heh. Vortex, yep - but that version did have two things going for it: a superb soundtrack and (I know, I know) one of my favourite renditions of Ophelia ever.

I wish the main characters in that damned play weren't so confused. It makes it hard to get a read on them.

The Gibson Hamlet had some interesting points. It was actually done in what I think is closer to the historical time of the story, and the "To be or not to be" in the crypt was well done.

Should I even bring up "Shakespeare in Love"? Oodles of fun, but I didn't get the ending, unless they were going in an odd "Tempest" direction.

The director, accepting his Oscar for "Shakespear in Love" thanked Paltrow, whom he said "glowed like uranium" whenever she was onscreen. I have to agree with that assessment. Has she ever done it again onscreen? The glowing thing, I mean?

Oh, there was another thing I liked in the Gibson Hamlet: Glenn Close went to her very famous doctor father - the man in charge in Zaire when Ebola first broke out - to ask how to play Gertrude's death by poison scene. I think he gave her some very good advice; her blue-lipped, terrified "SHIT! I've beenh POISONED!" realisation was very convincing.

Oodles of fun, but I didn't get the ending, unless they were going in an odd "Tempest" direction.

It's the beginning of Twelfth Night, without the captain, right?

a superb soundtrack and (I know, I know) one of my favourite renditions of Ophelia ever.

I couldn't concentrate on that, I was too busy being confused when they moved scenes around. I was furious when I left the movie.

juliana, yep - "the Queen desires a comedy" and he starts with Twelfth Night.

Should I even bring up "Shakespeare in Love"? Oodles of fun, but I didn't get the ending, unless they were going in an odd "Tempest" direction.

I adore Shakespeare in Love! As for the end, Shakespeare is writing "Twelfth Night", and sees Gwenyth as Viola; I think what we are to take away is that, after that, all of his plays are for her.

ETA: Yep, x-posty goodness.

(I think there was also a Nicol Williamson Hamlet, but I disremember.)

There was - very early 70s, filmed at the Roundhouse theater in London. Anthony Hopkins was a very young Claudius. I can't remember who Gertrude was, but Marianne Faithful was Ophelia.

My favourite Lear was the one Olivier filmed for the BBC in the seventies.

Was that the one with Diana Rigg as Regan and Leo McKern as Gloucester? Or was that a later version Olivier did for the Beeb?

Also, I'm with P-C on TITUS, and just about everyone on RAN.

Problematic as the play is, John Cleese in the Beeb's (I think Jonathan Miller directed) TAMING OF THE SHREW was quite good as well, though I've completely fogotten who played Katherine.

I couldn't concentrate on that, I was too busy being confused when they moved scenes around. I was furious when I left the movie.

I totally grok that. But if you can, separate the soundtrack from the movie and give it a listen; it isn't Henry V or The Lion in Winter (best soundtrack ever!), but it's damned close.

I think what we are to take away is that, after that, all of his plays are for her.

Yup - that was my take, as well.

And I will stand at your back with my crossbow and defend your right to watch it. The minute you tell me I have to love it because it's all modern and metaphorical and stuff, though? Bad Things.

Total wroditude. I saw an interesting Edwardian King John at our Stratford once, but generally I much prefer the more traditionally staged versions. I usually find the retellings to be painful, even I am sympathetic to the attempts.