 
  Popularity: 2 (history)
| Director: | Paul Czinner | 
|---|---|
| Writer: | Carl Mayer | 
| Staring: | 
| Film version of Shakespeare's comedy of a young woman who disguises herself as a man to win the attention of the one she loves. | |
| Release Date: | Sep 02, 1936 | 
|---|---|
| Director: | Paul Czinner | 
| Writer: | Carl Mayer | 
| Genres: | Comedy, Drama, Romance | 
| Keywords | servant, shepherd, forest, wrestler, disguise | 
| Production Companies | 20th Century Fox | 
| Box Office | Revenue: $0 Budget: $0 | 
| Updates | Updated: Aug 04, 2024 Entered: Apr 20, 2024 | 
| Name | Character | 
|---|---|
| Laurence Olivier | Orlando | 
| Felix Aylmer | Duke Frederick | 
| Elisabeth Bergner | Rosalind | 
| John Laurie | Oliver | 
| Lionel Braham | Charles, the wrestler | 
| Austin Trevor | Le Beau | 
| Sophie Stewart | Celia | 
| Henry Ainley | Exiled Duke | 
| Leon Quartermaine | Jacques | 
| Stuart Robertson | Amiens | 
| J. Fisher White | Adam (as Fisher White) | 
| Mackenzie Ward | Touchstone | 
| Aubrey Mather | Corin | 
| Richard Ainley | Sylvius | 
| Peter Bull | William | 
| Joan White | Phoebe | 
| Dorice Fordred | Audrey | 
| Name | Job | 
|---|---|
| Paul Czinner | Director | 
| J.M. Barrie | treatment | 
| William Walton | Original Music Composer | 
| Harold Rosson | Director of Photography | 
| David Lean | Editor | 
| Jack Cardiff | Camera Operator | 
| William Shakespeare | Theatre Play | 
| Joe Strassner | Costume Designer | 
| L.E. Overton | Recording Supervision | 
| C. C. Stevens | Recording Supervision | 
| Teddy Baird | Assistant Director | 
| Dallas Bower | Assistant Director | 
| Robert Cullen | Production Manager, Scenario Writer | 
| Carl Mayer | Adaptation | 
| Leon Quartermaine | Dialogue | 
| Lazare Meerson | Set Designer | 
| John Armstrong | Costume Designer | 
| Name | Title | 
|---|---|
| Joseph M. Schenck | Producer | 
| Paul Czinner | Producer | 
| Organization | Category | Person | 
|---|
Popularity History
| Year | Month | Avg | Max | Min | 
|---|---|---|---|---|
| 2024 | 4 | 4 | 6 | 1 | 
| 2024 | 5 | 4 | 8 | 2 | 
| 2024 | 6 | 4 | 8 | 1 | 
| 2024 | 7 | 3 | 10 | 2 | 
| 2024 | 8 | 3 | 8 | 1 | 
| 2024 | 9 | 2 | 4 | 1 | 
| 2024 | 10 | 4 | 10 | 1 | 
| 2024 | 11 | 3 | 7 | 1 | 
| 2024 | 12 | 2 | 4 | 1 | 
| 2025 | 1 | 2 | 4 | 1 | 
| 2025 | 2 | 1 | 2 | 1 | 
| 2025 | 3 | 1 | 2 | 1 | 
| 2025 | 4 | 1 | 2 | 1 | 
| 2025 | 5 | 1 | 3 | 1 | 
| 2025 | 6 | 1 | 1 | 1 | 
| 2025 | 7 | 0 | 0 | 0 | 
| 2025 | 8 | 0 | 1 | 0 | 
| 2025 | 9 | 0 | 1 | 0 | 
| 2025 | 10 | 1 | 2 | 0 | 
Trending Position
Elizabeth Bergner looks something akin to "Peter Pan" stuck in the headlights of an approaching armoured car in this really rather dry interpretation of one of William Shakespeare's lighter comedies. In theory, the cast ought to have been able to deliver far better than they did - and that seems lar ... gely down to Paul Czinner's character prioritisation. Anyone who reads the bard's work will realise that the "Fool" is always a crucial character for the narrative and the humour. "Touchstone" (played here competently by Mackenzie Ward) seems to be on the clock the whole time. His lines are delivered pell mell without leaving us the chance to absorb the wit, subtlety - and the information - contained in his lines. This really starves us of much of the nuance and fun, frankly, of the piece. What we are left with is Olivier being, well, Olivier - big eyes and grand gestures with pitch perfect delivery and all the emotion of a coal sack; and Felix Aylmer taking the imperious role of "Frederick" from the stage and making no real effort to adapt it at all for the cinema. The production whistles along with fine attention to the costumes and sets and I did quite like the epilogue - but that may have just been relief. A bit like "A Midsummer Night's Dream" - some things belong on the medium for which they were originally conceived. This, I'd say, is one such example.