Letters to Juliet (2010)

Ok, I realize this movie is ten years old, but I’d never seen it. I have the book around here someplace, but never really sat down to read it. I’ve known about the movie, it just never filtered up in my priorities high enough for me to sit and pay attention.

So I’m thankful that my wife has lately been in a “what movie can we watch with our teenagers” mood. Since they’ve grown out of generic animated things, we end up in situations where we immediately see anything Marvel or Pixar anyway, but then the boy only wants slasher gore (or anything generally R rated that he knows we won’t let him watch), while the girls want teen drama stuff that’s got a little too much “content you don’t watch with your parents,” if you know what I mean. So movies that look fun and safe and interesting to everybody, that nobody’s seen yet, have been a new quest. This week they found Letters to Juliet, entirely on their own!

The book and the movie are two different things. The book tells the story of the “Secretaries of Juliet”, a bunch of volunteers who take down the love notes left at Juliet’s balcony in Verona and answer them. The fictional story of the movie has our heroine (Amanda Seyfried, who specializes in playing characters named Sophie it seems) going to Verona on a “pre-honeymoon” with her husband who is so busy opening up his new restaurant that they haven’t had time to plan a wedding. He’s so busy, in fact, even in Verona, that she spends all of her time alone, site-seeing. She runs into the secretaries, they let her answer a letter of her own that turns out to be fifty years old, which results in the woman (and her grandson) coming back to Verona to hunt down her lost love, taking Sophie with them.

As far as romantic comedies go it’s as predictable as you’ve ever seen. As the movie was still in the opening credits I said to my family, “Is it just a rom com rule that whatever guy the girl is with in the beginning is not the guy she ends up with?” I’m still wondering if that is 100% true. It’s hardly a spoiler. A new guy enters the picture, they do the “we hate each other, we tolerate each other, we’re friends, we’re more than friends, will we end up together?” thing just fine. It’s all by the numbers.

How’s the Shakespeare content? Other than being set in and around Juliet’s balcony, there’s not much. There’s several tourist scenes of the crowd, including a line of people taking pictures while feeling up the statue. In the trivia I learned that they actually had to mock up the entire alley where this all takes place because the real one was far too small for the camera equipment. Fun.

The only Shakespeare content I spotted, oddly enough, came from Hamlet — “Doubt that the stars are fire, doubt that the sun doth move…” Strangely out place, but I guess I’ll take it.

All in all happy to check this one off my list. Nothing especially bad about it. In fact it was exactly the kind of movie we were looking for at the time. Sometimes that’s all you need.

What’s In A Name?

One of the problems with moving your company to Zoom is that you rapidly lose track of your coworkers’ lives. Wait, they got married? Who’s having a baby? I haven’t heard from so and so in weeks, apparently they left the company!

Such was the case when a new coworker was introduced (via Slack) whose last name was McBeth. “Oh my,” I thought, “I simply must introduce myself.” But how? I won’t bump into her in the halls. We’ll have no meetings together. Is it weird to send her a Slack message making Shakespeare references? It’s not like she’ll ever walk by my desk and see that it’s littered with Shakespeare memorabilia.

Turns out I didn’t have to. We have a company meeting every other week, and this week they broke up into smaller chats (“breakout rooms”) to get more social, and sure enough McBeth was in mine. After she’d introduced herself along with the others in the room I had to ask. “So do you get many Shakespeare references?” I ask.

Shhh! Don’t say the M word!

She smiles, rolls her eyes and says, “You have no idea. It’s not spelled the same, so every time I have to read my name out, like over the phone with a credit card, or oh god, at a cash register or something when they see it, they always say Oh, Macbeth, like in Shakespeare!’

“My god think of all the people you’ve killed by saying the name!” I tell her. “As you might have noticed, I have a certain affinity for Shakespeare.”

“Oh, they told me about you,” she replied.

Apparently my reputation precedes me 🙂

How About A Young Adult Lady Macbeth Musical?

That’s a stream of words I never thought I’d type. But sure enough, word is that Channing “Magic Mike” Tatum and Scooter “Taylor Swift Hates Me” Braun are teaming up with Amazon for just such a project.

 “the story is said to center on a teenage girl who grapples with her own morality as she contends with the dreadful consequences of her ambition.”

Of course, if nobody had specifically written the Macbeth connection that could just as easily be Mean Girls.

I have no idea if it’ll be any good, or even ever see the light of day. I’d expect about as much of such a project as I do for any other teenage retelling of Shakespeare inspired stories. 10 Things really set the bar too high.

https://www.broadway.com/buzz/199739/channing-tatum-more-join-forces-for-ya-lady-macbeth-musical-for-amazon/

Ye, No.

A few weeks ago I had the opportunity to have celebrity impressionist Jim Ross Meskimen do some Shakespeare of my choosing. I knew exactly the voice and passage I wanted – Robin Williams as Prospero doing “We are such stuff as dreams are made on.” It is quite breathtaking.

Unfortunately it was breathtaking for all the wrong reasons for long-time reader JM who, aghast, returned to comment, “It’s yea, not ye. Ye is a pronoun, (you) Yea is affirmation, or ‘yes’. I have no idea why he didn’t know that.” Such a small thing, and yet I can only imagine to someone more versed (ha!) in the verse than I, it would be like hearing someone say “all intensive purposes” or worse, “could of.”

Thing is, Jim didn’t make the mistake, I did. I copied the text for him. I rushed to the source I used – MIT’s version (people smarter than I see where this is going). I checked Open Source Shakespeare. Same problem. I checked the actual First Folio (with JM’s link), and there it is, the right way:

Our revels now are ended. These our actors,
As I foretold you, were all spirits and
Are melted into air -- into thin air --
And, like the baseless fabric of this vision,
The cloud-capped towers, the gorgeous palaces,
The solemn temples, the great globe itself,
Yea, all which it inherit, shall dissolve,
And, like this insubstantial pageant faded
Leave not a rack behind. We are such stuff
As dreams are made on, and our little life
Is rounded with a sleep.

The problem is that both MIT and Open Source Shakespeare are based on the Moby Shakespeare, a public domain version of the complete works that is (a) darned near ubiquitous (see “public domain”) but also (b) known to have substantial errors.

I know this. I guess I just always assumed that the errors were like very small needles in a very big haystack, and that they would simply never be an issue for me. That is not good thinking. I won’t say it wrecked my tribute to Robin Williams, but it sure tainted it. I wonder if Mr. Meskimen would make us another one? I’ll have to ask.

What other errors have you found propagated all over the internet because of Moby? Any really glaring ones? I know that Open Source Shakespeare actively updates their text to fix errors as they are reported, but I don’t believe MIT does (which would also no doubt be true of 99% of the other texts out there).

With Caliban Still Enslaved

A couple weeks ago on Twitter I had an interesting conversation about The Tempest and I’ve been meaning to post about it. A reader directed me to the poem Fuck / Shakespeare and I was left head scratching a bit at the ending:

Play ends / Cali still enslaved / Bruh / that shit fucked

My first thought was, “Is that really how it ends? That’s not how I remember it. Caliban gets the island. Prospero leaves. Sounds like freedom to me.”

Then I went back and looked at the text.

PROSPERO
He is as disproportion'd in his manners
As in his shape. Go, sirrah, to my cell;
Take with you your companions; as you look
To have my pardon, trim it handsomely.

CALIBAN
Ay, that I will; and I'll be wise hereafter
And seek for grace. What a thrice-double ass
Was I, to take this drunkard for a god
And worship this dull fool!

PROSPERO
Go to; away!

There is no moment of understanding between them. No “sorry for enslaving you, here, I’ll make it up to you by leaving and letting you have the island like you always wanted” exchange. Prospero’s last words to Caliban are, in fact, still those of master to slave.

I think my misunderstanding of the ending comes from two places. First, I’m visually thinking of Helen Mirren’s portrayal in Julie Taymor’s film version. If I recall that correctly, there is a clear moment (albeit in silence, since Shakespeare gave no words) that fills the need for what I wrote above.

The other is that I’ve just never really thought of The Tempest, my answer to “Which one is your favorite play?” in terms of slavery and racism and colonization. I love it as a story of fathers and children and forgiveness. That just goes to show just how good it is, that it can be both. You can read it as a happy ending fairy tale to your children about wizards and monsters and long lost princesses returning to their kingdoms. Or you can read it as a four hundred year old depiction of the darkest aspects of human behavior still on display to this day.

It’s given me a lot to think about. I’ve always known about those themes in the play, I’ve just never really focused on them, preferring instead to think of it as a positive book end to Shakespeare’s writing. Which is a bit ironic because in my modern reading I often chide books that wrap things up too nicely, and prefer those that give me something to think about and work on. If Caliban is forever enslaved because of what Prospero did, then how can we ever break the cycle?

Which ending do you prefer? Is Caliban free now to be king of the island? Or is he forever enslaved by what Prospero did to him, long after Prospero is gone?