"Lord, what fools these mortals be..."

Thus opines Shakespeare in the guise of Puck, the woodland fairy. Midsummer is the Bard's commentary on humanity's fickle, thoroughly unpredictable nature. This, the latest film adaptation of the oft-produced play, understands Shakespeare's intentions and, in turn, glorifies these self-same failings, which are the very root of human existence. The director, Michael Hoffman, chooses to create an atmosphere of magical realism as opposed to a vaudevillian slapstick-happy approach. In this respect Midsummer both shines and fails, for the lush, opulent decor and golden-hued lighting schematic supplement Shakespeare's soaring verse, but also distract occasionally, preventing the scenes from taking full comic flight--a mistake not made, for example, in Kenneth Branagh's likewise lush and Italianate Much Ado About Nothing.

If the director is more concerned with sparkly veneers than vibrant physicality and wordy banter, however, the actors, at least, manage to pick up some of the slack. Kevin Kline as Bottom the Weaver is, expectedly, a perpetual scene-stealer, coming up with a characterization which is something of a hybrid of Chaplinesque pathos and Gilbert & Sullivan's posturing but charming Pirate King, which Kline has also played to great effect on the screen. Kline's "on-stage" finale as Bottom-enacting-Pyramus ranks among the most side-splittingly send-ups of hammy Shakespearean acting ever to hit celluloid.

Supporting Kline is a strong cast of actors, consistently accessible in their mouthing of Shakespeare's occasionally tongue-twisting rhymes. I was especially impressed by Calista Flockhart as poor love-spited Helena, and Christian Bale as the object of her undying affections, Demetrius. Their scenes have a notable vim, vigor and vitality which I found a bit lacking in those between the bland Lysander and Hermia. Rupert Everett as Oberon, King of the Fairies (methinks I nose an inside joke here somewhere) has an appropriately god-like presence, ever-sneering, ever above-it-all. Michelle Pfeiffer, that paragon of beauty, is ravishing as Titania, and her speech is eloquently suited to a role requiring very little acting, but a good deal of smoldering.

Given the 19th-century Italian setting, comparisons to Branagh's Much Ado must naturally abound, and I have to say that this Midsummer does not quite stand up under the scrutiny. Though Much Ado had its weaknesses (Robert Sean Leonard, Keanu Reeves...need I say more?) the comedic peaks that Branagh and Emma Thompson achieved as bickering Beatrice and Benedick far outmeasure the more consistent but also (with the exception of Kline) shallower Midsummer. Still, Midsummer stands as a thoroughly enjoyable and weightless summer frolic, providing as pleasant a way to pass a midsummer's evening as any.