Anonymous

Podría haber sido una película histórica notable, con un enfoque interesante en Shakespeare y su mito. Capta perfectamente la época, el personaje principal (Rhys Ifans) es genial, técnicamente no hay absolutamente nada de qué quejarse. Es difícil de creer que detrás de esta obra esté el autor de 10.000. Tanto más lástima por los desafortunados saltos entre planos temporales, la falta de claridad en lo que se refiere a los personajes y sus relaciones, es decir, la única pero fatal debilidad de la película... (05.12.2011)

Emmerich has expertly surpassed his years of infamously built shadow. Although I don't share his conspiracy theory about the authenticity of the authorship of Shakespeare's works, at least the meticulous production design and the performances (especially Rhys Ifans) deserve praise. I don’t share some of the criticisms here about the lack of clarity. The seemingly complicated flashback narrative is not that difficult to grasp at the first viewing, you only need to remember about 5 names and be a little bit alert while watching the flashback jumps (and the ubiquitous political ploys) and there’s no risk of getting lost. And I also give a thumbs up to Emmerich for his courage to come up with such an inflammatory material in today's cinemas, where the deployment of commercial films is more like a controlled production process. I'm surprised at myself, but giving Emmerich a chance this time was worth it. (06.02.2012)

It's not so much that the film is completely out of it in many ways (nothing against anti-Stratfordians, but I just trust Stephen Greenblatt more), but rather that it's out of it in a terribly boring and unimaginative way. It's so conventionally Hollywood that it's not subversive at all, and it brings nothing more than recycling what has been seen a hundred times. Yes, William Shakespeare did it too... but much better. Thankfully the screenwriter figured it out at the end and explained to us why his creation is not worth seeing. Yes, and in terms of design and material facts, Rolko made a much nicer film than Paul W.S. Anderson, in case anyone's wondering. But otherwise, there are too few aliens and too many complex emotions. (02.11.2011)

It’s a well-known fact that Roland Emmerich, apart from Independence Day, has never been very strong in scripts, so we have a mess of characters and timelines that only improves in the second half of the film. But what good is that when we are served such confusing aesthetics and incredibly clear compositions and panoramas? That's when every other viewer is willing to overlook the plot holes and confusion, or at least brush them off. Thematically, it's quite unconventional and not a completely bad attempt, surprisingly not an outright clichéd mess like 10,000 BC, but let's move on to the second installment of The Martian instead. (15.09.2014)

The traditional phrase "This story is fiction, the characters and their actions are fictional... etc.", which appears at the end of the credits of most films, has perhaps never been more appropriate than in the case of Anonymous. I liked the film for several reasons: 1) I think there's something to it; 2) I love anything related to the Elizabethan era; 3) Rhys Ifans is one of those actors who says it all with one glance; 4) I liked the conceptualization of William Cecil, whom the script showed not only as a traditional wise counselor, but also as a hard-bitten schemer (his son must have inherited that from someone); 5) I believed Roland Emmerich could do it (everyone knows he can do historical atmospheres since The Patriot, but few will say it out loud), and he did; the special effects were great, London was believable, the uprising scene was well done, the film had great actors, there was Wanker and Kloser's great music... Actually, I can only criticize Anonymous for the initial chaos in the characters (which is fixed the second time around). (14.12.2011)

What can I tell you, I was quite confused when Roland Emmerich, arguably the greatest pyrotechnics specialist Hollywood has ever seen, released an intimate dramatic tale from a theatrical setting. But watch out, this is not bad at all! The premise and the structure of the film are more than intriguing, and if it is really based on true events (which of course I highly doubt), it would undoubtedly be a shocking discovery. The most famous writer in the history of mankind as a mere figment of the imagination, while the real author of all the plays had a love affair in his youth with the Queen herself, and had to shun politics, resulting in his hatred, resentment and loathing of the theatre? Anonymous abounds in motifs and Emmerich, who shows a completely new face, handles and weaves them together often very skilfully and engagingly, while sometimes relying on a not-so-successful interweaving of the past with the present, which often takes away from the pace of the story. I also didn't like the protracted final part, when I kept telling myself to let it be over for God's sake, but in the end it dragged on to almost 130 minutes. From the point of view of cinematography nothing groundbreaking, but, from the point of view of history, it’s interesting filmmaking that I certainly don't consider redundant. Strong 3*. (21.12.2011)

Who is actually behind all the plays that are attributed to William Shakespeare? Was he a real person, or just a fictional character who took on the guise of a playwright, while the plays were actually written by someone else, someone who had to remain in the background due to their status? Nobles could not be artists, so they could only write secretly. Is William Shakespeare some nobleman who was hiding? Is it a group of people pretending to be one person? Or is the truth completely different? I must admit, I don't care. I don't want to know if William Shakespeare really existed and wrote all the plays himself, or if it was something else entirely. The plays are so brilliant that it doesn't make sense to delve into that. We are so determined to uncover the truth and debunk the myth. But don't some myths deserve to be left untouched? In my opinion, this is one of them. People should live for his works. Roland Emmerich decided to make a film where he wouldn't destroy New York, but instead he would depict one of the possible versions of how it all happened on screen. In addition, he adds a rather intricate political story that is not so significantly related to Shakespeare himself. But fine, the film had to be a bit more lively and action-packed. Surprisingly, the best parts are the sequences where pieces from Shakespeare's works are performed. So Emmerich didn't make a bad film, it's good in terms of costumes, the set design is great, but it's all too long and... well, just uninteresting. Everything is too neatly aligned and there is no room for speculation. I understand that it's about presenting one version, but it could have been made more suspenseful, more interesting, with a point at the end. But no. Instead, Emmerich attacks the emotions in the end, as is his custom. An average spectacle with beautiful set design. More: http://www.filmovy-denik.cz/2012/07/happy-feet-2-bobr-cislo-4-musketyri.html (23.02.2013)