In "Titus," disturbingly close family relationships repeatedly prove blood is thicker than water. So it is only fitting blood flows like water as this bombastic, intense Shakespeare film splatters across the screen.
"Titus" follows the Bard's notorious "Titus Andronicus" surprisingly closely. Extremely large chunks of the play are repeated word for word, yet do not bog down the narrative or slow the pace thanks to their clever execution. The film respects the source of its material enough to let it do the talking now and then, which makes its otherwise over-the-top dramatic and visual style somewhat more bearable.
The source story itself is one of the authors' most vicious and brutal. Incest is depicted graphically, as are dismemberment, torture, ritual sacrifice, political murders, suicide and cannibalism. It is overwhelming, even by today's standards.
The complex narrative begins with Roman war hero Titus Andronicus (Anthony Hopkins) who returns from war and ritually kills the eldest son of captured Goth queen Tamora (Jessica Lange). She swears vengeance and is assisted when Saturninus (Alan Cumming) takes the Roman throne and weds her. With assistance from her two lustful sons, Demetrius (Matthew Rhys) and Charon (Jonathan Rhys Meyers), she orders Titus' daughter, Lavinia (Lauren Fraser), to be raped and tortured. The boys go overboard by cutting off her hands and replacing them with branches, a disturbing effect accomplished with computer-generated imagery.
After suffering further injustices (including having his hand chopped off in an unsuccessful attempt to save his sons' lives), Titus vows to get back at his enemies and finally proves revenge is a dish best served hot.
Hopkins' charismatic, brilliant performance as the tormented title character gives the film a heavy boost. The performances are good all around, but Hopkins' spark of madness in his eyes and touch of evil in his actions are enough to carry the movie even without overwhelming cinematic technique.
Speaking of which, the intermittent symbolic flash cuts of battling animals, people and statues make "Titus" feel more like a homage to "Natural Born Killers" than a Renaissance literature adaptation. These insane touches would have worked well in small quantities but simply are numbing after a dozenth viewing.
Since setting Shakespeare plays in their original time period is no longer trendy, "Titus" refuses even to set its action in one clear time frame. The combination of ancient Roman battle outfits, medieval European architecture, contemporary weapons and futuristic decor give it a sloppy patchwork feel, catering to the short attention span crowd.
Although their presentation is uneven, Dante Ferretti's set design is undeniably beautiful and a true sight to behold. Milena Canonera's costumes complement the surroundings very well. It's fitting that Tamora's people are the Goths because their costumes mix Gothic designs with cyberpunk and glam touches.
The highly graphic nature of the sexual content seems superfluous and shallow. "Titus" is the epitome of exploitation in the guise of literary legitimacy.
"Titus" will please modern audiences because it is big, loud and sensational. It is definitely very well-made with some extraordinary visuals but it lacks an emotional core. It amounts to little more than sensory overload.
If Shakespeare were alive today, he would probably get a mild kick out of "Titus." But he probably would also forget it the next day and never give it a second thought. That response is a perfectly understandable reaction from any viewer.
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