Titus 1999 123movies

Watch: Titus 1999 123movies, Full Movie Online – War begets revenge. Victorious General Titus Andronicus (Sir Anthony Hopkins) returns to Rome with hostages: Tamora (Jessica Lange), Queen of the Goths, and her sons. He orders the eldest hewn to appease the Roman dead. He declines the proffered Emperor’s crown, nominating Saturninus (Alan Cumming), the last ruler’s venal elder son. Saturninus, to spite his brother Bassianus (James Frain), demands the hand of Lavinia (Laura Fraser), Titus’ daughter. When Bassianus, Lavinia, and Titus’ sons flee in protest, Titus stands against them and slays one of his own. Saturninus marries the honey-tongued Tamora, who vows vengeance against Titus. The ensuing maelstrom serves up tongues, hands, rape, adultery, racism, and Goth-meat pie. There’s irony in which two sons survive..
Plot: Titus Andronicus returns from the wars and sees his sons and daughters taken from him, one by one. Shakespeare’s goriest and earliest tragedy.
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Ratings:

	7.1/10 Votes: 20,780
	69% | RottenTomatoes
	57/100 | MetaCritic
	N/A Votes: 225 Popularity: 7.516 | TMDB

Reviews:

An impressive retelling of Shakespeare’s infamously brutal ‘Titus Andronicus’
Following a victorious campaign against the Goths, General Titus Andronicus returns to Rome with prisoners; Tamora, Queen of the Goths, her three sons and Aaron, her Moorish adviser. He sacrifices her eldest son to the gods. At the same time the old emperor has died and Titus is proposed to take his place; however he declines and gives the position to Saturninus, the old emperor’s son. He states that he intends to take Titus’s daughter, Lavinia, as his bride; knowing she is betrothed to his brother Bassianus. She flees with Bassianus and Saturninus states that he will marry Tamora… soon she is plotting her revenge against Titus and his family. Soon things are spiralling towards an inevitably bloody conclusion.

This is a classic tale of revenge played out between Titus and Tamara that will destroy most people close to them. There is murder, rape and mutilation… not to mention the infamous finale which I won’t spoil on the off chance that one hasn’t heard what happens. People often complain that modern stories are too violent but this was written over four hundred years ago and contains material that wouldn’t look out of place in ‘Game of Thrones’… indeed the scene I alluded to earlier was copied to great effect in that series.

Many versions of Shakespeare plays are set in eras other than that of the original play; this manages to be set in what appears to be a combination of eras simultaneously; we have Roman soldiers, some traditionally armed others carrying shotguns; ’30s cars and costumes with a camp fascist look and modern punk inspired clothing for others. This hodgepodge could be a mess but it is strangely effective; emphasising how the central story is timeless. The cast does a fine job; most notably Anthony Hopkins who is on great form as the tormented eponymous Titus; Laura Fraser, as the poor Lavinia; Alan Cumming, as the somewhat camp Saturninus and Jessica Lange, as the vengeful Tamora. Director Julie Taymor does a great job bringing the story to the screen. Overall I’d definitely recommend this to fans of films based on Shakespeare if the can handle the subject matter. To others I’d say don’t be put off by the Elizabethan language; after a few minutes one gets used to it.

Here’s hoping this is Julie Taymor’s last work.
Maybe her stock theatrical gimmicks work on the stage – let’s give her the benefit of the doubt – but she doesn’t have the foggiest idea how to make a movie.

Not that I think this nonsense would work on stage. “Titus Andronicus” is CLEARLY set in Ancient Rome – would it be TOO MUCH TO ASK to have a production that respects this fact? I’m sick of leather jackets and motorcycles and arcade games and all the other paraphernalia from The Compendium of Tiresome Postmodern Clichés – for once I’d like to see a creative rendition of the era in which the action is supposed to take place, and DOES take place, whatever efforts the director may make to suggest otherwise. In what kind of simple-minded fashion does Taymor expect us to think? “Look, a microphone. Why, that’s a modern invention! I guess this means Shakespeare IS a relevant kind of dude, after all!” Please, don’t tell me modern audiences are so stupid.

Making it all the more embarrassing is the film’s clumsy use of music. Whenever twentieth-century artefacts make a “surprise” appearance, Taymor asks her poor captive composer Elliot Goldenthal to underline the point with a saxophone riff. Wow, a saxophone! That’s almost only a hundred years old – I guess Shakespeare IS a relevant kind of dude, after all.

Taymor’s affectations undermine an already weak story in too many ways to count. Take the scene where Titus is begging the tribunes to spare his sons’ lives. Do we have any sense that it matters? No, because the whole production is so dadaist, and we have so little sense of what can and can’t happen in this universe, that none of it seems real – it would be in keeping with the rest of the production for his sons to spring back to life after being executed, so why worry about them? Or take the scene at the Goth’s camp outside Rome, which takes place in a quarry with high tension power lines running overhead. Yes, Julie, very Brechtian, but if you’d remove your theoretically-tinted spectacles for just a second, you’d realise that it just looks clumsy. Power lines almost always look clumsy. In this case they not only make it impossible to think of these Aryan extras as being an army of Goths, they make it impossible to think of them as being an army at all. What is Lucius planning to do, follow the pylons? In any case, the last thing this scene needs is the visual suggestion that the army has just passed Rome’s power plant (without disabling it), and will shortly come across the arterial highway.

It’s bad enough for Taymor to assemble such ludicrous costumes, sets and locations; it’s unforgivable for her to think that all she need do is assemble them, without giving any thought to how they’d look on film. It’s tragic, really. Taymor’s many lame ideas are ALL visual – none of them have to do with story or character or theme – yet because she was concerned with what things look like in the flesh, not how they would end up looking on film, even these are half-lost. You’ll struggle to find one arresting image in the entire two-and-a-half hours. And the acting and music fall just as flat as the images do. It’s Shakespeare’s, rather than Taymor’s, fault that the language also falls flat; but she knew this was Shakespeare’s weakest play, so she knew what she was letting herself in for. Even so Shakespeare’s poetry is all the film has to recommend itself. If, in the last half hour, the film picks up just a little from the aimless drizzle it was at first, Shakespeare alone can take credit.

Show me someone who praises “Titus”, and I’ll show you someone whose critical judgment is clouded. The film is so dismal and flabby that one is surprised to discover it’s even in focus (that is, when it IS in focus). For two hours Taymor does nothing but wave her avant-garde credentials in our faces, and of course, the world is full of people intellectually insecure enough to accept them.

Other Information:

Original Language en
Runtime 2 hr 42 min (162 min)
Budget 0
Revenue 2259680
Status Released
Rated R
Genre Drama, History, Thriller
Director Julie Taymor
Writer William Shakespeare, Julie Taymor
Actors Anthony Hopkins, Jessica Lange, Osheen Jones
Country United States, Italy, United Kingdom
Awards Nominated for 1 Oscar. 4 wins & 19 nominations total
Production Company N/A
Website N/A

Technical Information:

Sound Mix Dolby Digital
Aspect Ratio 2.35 : 1
Camera Arriflex 35 BL, Zeiss Standard Speed and Super Speed Lenses, Arriflex 535, Zeiss Standard Speed and Super Speed Lenses
Laboratory Cinecittà Laboratories, Roma, Italy (processing), DeLuxe, Hollywood (CA), USA (prints), Technicolor, Hollywood (CA), USA (dye-transger printing)
Film Length N/A
Negative Format 35 mm (Kodak Vision 800T 5289, Eastman 250D 5297, EXR 500T 5298)
Cinematographic Process Super 35
Printed Film Format 35 mm (anamorphic)