There are stories that strike such a universal cord with people that they endure, passed down from one generation to the next. In each case it is the responsibility of the current generation to take the underlying tenants of the story, the elements that make the story a classic, and rework them so that the current generation can place their distinctive twist on it, in this way the story continues through time stopping to provide milestone defining the characteristics unique to the definition of that generation. This effect has been seen throughout literature and by extension film but there is one English language author whose works have been updated and adopted by current generations for about five centuries now; The Bard, William Shakespeare. His portfolio of plays are filled with such classics ripe for generational treatment including ‘Romeo and Juliet’, ‘Hamlet’ and Macbeth’. While his dramatic works are perhaps most conducive to this treatment Master Shakespeare was exceptionally prolific and eclectic. One of his most beloved comedies has been used as the basis for modern faire but like its dramatic siblings also has been subjected to reinterpretation within the scaffolding of the original play. It is this versatility that infuses a story of magic, romance and plans gone awry that will continue to provide entertainment for centuries to come. The film version under consideration at this time had its cinematic release in 1968. To fathom the intent of the filmmaker it is necessary to place this version of the story properly in its historical and cultural position. While the original play was penned around 1590 needless to say a lot changed from a cultural standpoint in the intervening centuries. The underlying frivolity and playful abandonment of common sense remain a constant now embraced by a youthful generation proclaiming peace, love and openness to the universe. This version is one of the better ‘straight forward’ reinterpretation of the play seamlessly blended with the prevailing emergence of social freedom embraced by the flower power generation during the ‘Summer of Love’. This is arguably a presentation of the story that would bring a smile to the face of the Bard knowing his words would discover new interpretation with a kindred spirit. For many of us this movie came out just as we were in the process of reading Shakespeare in our English Literature class. Being teenagers it was natural to seek out the movie as an argumentation to the somewhat cryptic syntax of Elizabethan English. Now thanks to the MGM/UA Manufacture on demand classic film series this film is finally available to add to discerning collectors.

This film was directed by Peter Hall who had most of his experience helming stage productions. This does translates exceptionally well to the screen with his natural ability to think in terms of a virtual viewport overlooking a stage in front of the audience. While film does allow him a greater degree of flexibility and he does afford himself access to the expanded setting the movie retains the feel of a traditional production with the actors trotting the proverbial boards. His notable mark on the classic was proving the first color version. This did pave the way presentational quirks that traditionalist found a bit strange such green body paint to denote the fairy folk. For those who prefer their Shakespeare in a less adulterated form a blessing on the production is evident by the participation of the illustrious Royal Shakespeare Company as the cast of the movie. Hall takes on the generational mandate to impart a generational stamp on the production through the infusion of some extremely sixties specific affectations. This is manifested by conscious stylistic decisions ranging from noticeable modifications in costuming to directorial mannerisms that hold the film true to the decade of presentation. Some may feel that a trope like this would be set in their ways and strong proponents of traditional presentation. If you consider their achievements en masse and individually you will discover they are typically at the vanguard of new ways of looking at classical material. As is the case with any experimentation of this sort there are mistakes and missteps that might annoy those watching but this is exactly how the art form endues and grows.

Many in the cast seem to take a great deal of joy in playing against the type of characters they were best known for. Diana Rigg at that time was the sleek, smart and deadly Mrs. Emma Peel, a far cry from the duped, love struck Helena. It must be remembered that this play became the template for the screen romantic comedies and farces that would follow. The situations are wonderfully impossible with a night of magic playing with the sensibilities of the foolish mortals so easily lead and enchanted. The costumes are one area where Hall was able to play with the perception of the story. There is an undercurrent of the traditional present but that builds upon the amusing influence of 1968 London street fashion most notably the thigh high boots that adorn the legs of the lovely women in the film. Fascinating casting choices populated the fairy world critical to the action. Ian Holm as the capricious Puck is amazing to see, this is an actor with incredible range not always readily appreciated in his Americanized roles. Fans of the current string of James Bond flick might be flabbergasted to see the stately ‘M’, Dame Judi Dench, dressed in nothing more than a coat of green body paint and a triad strategically placed flowers to guarantee the smallest modicum of modesty.

This is film is an enjoyable blend of classic writing with a contemporary, well for the sixties, look and feel. It bridges the centuries with great élan that comes from season professionals having fun with material they love and respect. These are people who have earned the right to break with tradition. They have established their ability to play their parts straight off the page and now, like a genius in Jazz, rift on the material to reflect a time fraught with division. Reality held a war in a far off jungle and a conflict between young and old. This movie was and remains a joyous expression of hope surround in the surreal fantast of a fantastic night of mischief in a mid summer’s woods.