Shakespeare in the 19th-century Forest of Arden is fine, I guess. We’ve seen it a thousand times. But Kenneth Branagh decided to move the whole thing to 19th-century Japan. It sounds like a reach. Maybe even a gimmick. Honestly, when As You Like It Branagh first hit screens via HBO in 2006, people didn't really know what to make of it. Some critics thought the setting was a distraction, while others felt it breathed fresh air into a play that can sometimes feel a bit too much like a dusty pastoral poem.
It’s weird.
The film opens with a literal ninja attack. You’ve got Duke Frederick’s men storming a Japanese estate, and it feels more like an Kurosawa flick than a classic comedy. This isn't your grandma's Shakespeare. Branagh has this specific habit of transplanting the Bard into eras that shouldn't work but somehow do. Think Much Ado About Nothing in sun-drenched Tuscany or Hamlet in a snowy, Victorian-ish Blenheim Palace. Here, the Forest of Arden becomes a lush, humid landscape where English traders live alongside Japanese locals. It’s a bold choice.
The Weird Logic of the Meiji Era Setting
Why Japan? Branagh’s logic focused on the idea of the "Treaty Ports" in the late 1800s. Basically, there was this specific slice of history where Western merchants and Japanese culture were colliding in a very physical, visible way. By placing the "court" in this rigid, slightly dangerous environment, the escape to the forest feels more like a genuine relief.
In the play, the forest is a place where social hierarchies die. By making the forest a Japanese woodland, Branagh highlights the "otherness" of the space. You have Bryce Dallas Howard—who is absolutely luminous as Rosalind, by the way—running around in what is essentially a cross-cultural wilderness.
The casting is a mix of Branagh regulars and then-newcomers. You’ve got Kevin Kline as a brilliantly mopey Jaques. You’ve got Brian Blessed doing his usual booming thing, playing both Duke Senior and Duke Frederick. It's a bit of a family reunion for the Shakespeare cinematic universe.
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Rosalind, Orlando, and the Physics of Love
Bryce Dallas Howard carries this movie. If she didn't work, the whole thing would fall apart like a wet paper bag. Her Rosalind is smart, frantic, and deeply empathetic. When she disguises herself as Ganymede, she doesn't just put on a hat; she changes her entire posture. It’s a tough role because the audience has to believe that Orlando—played by David Oyelowo—is actually fooled by the disguise.
Oyelowo brings a physical intensity to Orlando that you don't always see. Usually, Orlando is just a guy who writes bad poetry on trees. Here, he feels like a man who has actually been pushed to the edge by his brother Oliver (Adrian Lester). The chemistry between Howard and Oyelowo is the engine of the film.
It’s worth noting that this was a late-career entry in Branagh’s Shakespeare cycle. By the time he got to As You Like It Branagh, the massive budgets of Hamlet were gone. This was a smaller, more intimate production. It premiered on HBO in the US rather than getting a massive theatrical rollout, which kinda colored the way people perceived its quality. But smaller doesn't mean worse. The cinematography by Roger Lanser is vibrant. The greens of the forest are so deep they almost look supernatural.
Why the Critics Were Split (And Why They Might Be Wrong)
Some people hated the ninjas. Let's just put that out there. If you’re a purist who wants every "thee" and "thou" delivered in a doublet and hose, the opening sequence of this film will probably give you a headache.
Critics like Stephen Holden at the New York Times pointed out that the Japanese setting felt "merely decorative." There’s an argument to be made there. Does the setting change the meaning of the words? Not really. But it changes the vibe. Shakespeare wrote for a rowdy audience that liked spectacle. He wasn't writing for a library. Branagh understands that. He uses the setting to create a visual language for the themes of exile and transformation.
The music is another sticking point. Patrick Doyle, Branagh’s long-time collaborator, turned the famous songs—like "Under the Greenwood Tree"—into these melodic, slightly folk-inspired pieces. They’re catchy. They’re also a bit sentimental. But As You Like It is a sentimental play! It’s about people falling in love at first sight and brothers forgiving each other for attempted murder. You can't play it too cool, or you lose the heart of the story.
A Different Kind of Jaques
Kevin Kline’s performance as Jaques is the standout for anyone who likes their Shakespeare with a side of existential dread. His delivery of the "All the world’s a stage" speech is understated. He doesn't stand on a soapbox and shout it at the rafters. He says it like a man who has seen too much and is tired of the cycle.
It’s a nice contrast to the high-energy romance happening elsewhere.
If you look at the filmography of As You Like It Branagh, it sits in this weird middle ground. It’s not as iconic as his Henry V, and it’s not as widely loved as Much Ado. But it’s arguably his most visually experimental work. He uses the camera in a very fluid way, lots of long takes that follow characters through the foliage. It makes the forest feel like a real, three-dimensional place rather than a set piece at the Globe.
- Rosalind’s Journey: The film emphasizes her agency. She’s not just a girl in a boy’s suit; she’s a director staging her own love story.
- The Duke Dualism: Having Brian Blessed play both brothers highlights the "two sides of the same coin" nature of power.
- The Ending: Branagh adds a final shot that isn't in the play. It pulls back to show the film crew, reminding us that we’ve been watching a performance. It’s a meta-commentary on the "world’s a stage" theme that actually works.
The film handles the "Ganymede" dynamic with more nuance than some stage productions. Because it's a film, we get close-ups. We see the flicker of confusion in Orlando’s eyes. We see the terror in Rosalind’s eyes when she thinks she’s gone too far.
Is it perfect? No. The pacing in the second act drags a bit, just like the play does. Shakespeare’s comedies often have a "middle-act muddle" where everyone is just wandering around the woods waiting for the plot to resolve. Branagh tries to fix this with visual flair, but there’s only so much you can do with people talking about sheep.
How to Watch it Today
If you’re looking to dive into this version, don't go in expecting a history lesson on Meiji-era Japan. Go in expecting a fairy tale. That’s what it is. The setting is a "once upon a time" location.
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You can usually find it streaming on platforms that carry HBO content or through digital retailers. It’s worth the two hours just to see David Oyelowo wrestle a guy while dressed in 19th-century formal wear.
Shakespeare is meant to be played with. It's meant to be stretched and pulled into different shapes. Branagh’s 2006 effort proves that even the most "English" of plays can find a home in a completely different culture. It reminds us that the feeling of being an outsider—of being "as you like it"—is pretty much universal.
Next Steps for Your Viewing:
- Check the Credits: Watch for the way Patrick Doyle integrates Eastern instrumentation into the Western orchestral score; it's subtle but helps bridge the setting gap.
- Compare and Contrast: If you can, watch the 1936 version starring Laurence Olivier. Seeing how the "acting style" shifted from Olivier’s theatricality to the naturalism of Howard and Oyelowo is a masterclass in how Shakespearean performance has evolved.
- Listen to the Text: Even with the ninjas and the kimonos, Branagh keeps the text almost entirely intact. Focus on the language; it’s surprisingly clear and accessible in this version, making it a great "entry point" film for people who think they hate Shakespeare.