Review: Cymbeline

A review for The Upcoming

Michael Almereyda opts for style over substance in his anachronistic retelling of this unpopular Shakespeare play. The experience, however, is one undoubtedly more favourable to his previously austere literary adaptation, Hamlet (2000).

A pulsing synth soundtrack and slow-motion close-ups are served up alongside Cymbeline’s opening exposition statements. The influence of Nicholas Winding Refn (as well as Baz Luhrmann) can be detected immediately, though a baffling plot, undeveloped ideas and a farce of a finale find Almereyda’s efforts coming up short.

Opting to preserve Shakespeare’s dialogue in this modern, American setting provides one of the film’s rare pleasures. Though cut down extensively, the words “I prey you, spare me” uttered by Imogen (Dakota Johnson) as she stomps up stairs to her bedroom work predictably well. There, however, any genuine moments of synthesis between Shakespeare’s play and this updated setting end.

Cymbaline, played by Ed Harris in a leather jacket, finds himself king of the Briton Motorcycle Gang. His adversary is the chief of Roman police (Vondie Curtis-Hall), their problem with one another rooted in an on-going drug war. If all these role transitions hint at some sort of inspired reading of modern America, then know that such intentions are not realised on screen. Instead, any changes to the story seem cosmetic, which is probably the best way to describe the film itself.

The convoluted plot is kicked into motion when the villainous Iachimo (Ethan Hawke) proposes a wager with Penn Badgley’s Posthumus (Gossip Girl) stating he can tempt his wife into a spot of adultery. Many have raised the issue that, in this updated 21^st Century setting, such behaviour seems bizarre if not outright insane. But Almereyda continues along Shakespeare’s path of manipulation, deceit and iPads (which are used frequently in this adaptation, with a certain incriminating selfie proving damning for poor Imogen).

Once again, there’s a sense that Almereyda is hinting at something relevant: the use of technology in our private lives, the existence of revenge porn in our society. Yet ultimately, his rendition is sleek but shallow.

And sleek it is, with some nicely lit scenes from long-time David Gordon Green collaborator Tim Orr employed as Cymbaline’s DP. The palette is a burned-out auburn colour, with jet-black biker jackets and striking landscapes serving up a feast for the eye. Frankly, it’s a shame the brain doesn’t receive as much nourishment.