They mention male reproductive parts. I feel that this movie should be R. I showed this to my kids and they have told me that they still have nightmares today 87 years later. This movie has effected their life in a very bad way. I want to warn parents that this is a very inappropriate movie.It also contains drug use and people like Feste who are intoxicated at times. In conclusion this movie should not be PG because it contains mature content. The movie is outdated and so is its rating. THIS IS NOT PG!!!!!

Twins Viola and Sebastian look very similar so much so that they enjoy trying to trick people as to which is which aboard the ship in which they are sailing. After the ship is wrecked it appears that Sebastian has died but Viola is amongst the survivors. She decides that it would be safest if she were to disguise herself as a boy, take the name Cesario and gets a job serving as a page to Duke Orsino. She soon starts to develop feelings for her but can't give voice to them. Things get a little more awkward for her when Orsino requires her go to the nearby Countess Olivia to tell her of his love. She isn't interested in him but is rather taken by 'Cesario'! If that weren't enough others are trying to persuade Olivia's steward, the rather bumptious Malvolio, that she has feelings for him. When it emerges that Sebastian is in fact still alive things get even more confused as he looks and is dressed just like 'Cesario'!This is the first version of this Shakespeare comedy that I've seen so can't say how it compares to other adaptions. The story is delightfully over the top with confusions. I liked the late Victorian/Edwardian setting and fine Cornish locations. The way the story is adapted, with short scenes and numerous locations, makes it feel more cinematic than theatrical.The cast is impressive; while no viewer is likely to confuse Imogen Stubbs and Steven Mackintosh as 'Cesario' and Sebastian they do look similar enough and the former, with the help of shortened hair and a false moustache, does have a slightly boyish look. The rest of the cast were impressive too; notably Helena Bonham Carter as Olivia; Nigel Hawthorne as Malvolio; Ben Kingsley as Feste, the fool; Mel Smith as drunken Sir Toby Belch and Richard E. Grant as Sir Andrew Aguecheek. The comedy is a little silly but that is the joy of it; one might have though the things that people found funny four hundred years ago would raise a laugh these days but I found myself laughing out loud several times. Overall I'd certainly recommend this to anybody wanting a good romantic comedy even if you con't consider yourself a fan of Shakespeare.

There are several good reasons to spend an evening with this production of a standard Shakespearean tale of gender confusion and romantic comedy. The lush scenery and attention to period detail, top-notch performances, and Ben Kingsley's rightly acclaimed turn as Feste, the wise and knowing Fool.Nonetheless, the move from play to the big screen has its drawbacks, foremost among which are the great suspension of disbelief the viewer must attempt when Viola is taken seriously as a man, and still moreso when brother and sister, essentially unchanged in appearance, do not immediately recognize each other. Suspension of disbelief is more commonly expected in a stage production, where the circumstances of the confined surroundings necessitate empathetic participation of the audience. In cinema, however, such constraints are generally not present, and standards are correspondingly higher. But if the screenplay includes elements that demand audience empathy, as is the case here, the production will fare badly at just those places.Hamlet and other more "serious" works in the Shakespearean canon have few such elements. Plays such as TN, of a more playful nature and which revolve around improbable plot elements, will bear up less well under the close scrutiny of big-screen cinema.

A first-rate cast directed by Trevor Nunn, the premier Shakespeare interpreter of our era, makes this version of Twelfth Night a must-see for anyone who loves Shakespeare. The action appears to take place in the 18th or 19th century but the interpretation is otherwise straight-forward. While reduced from the Shakespearean original to a little over two hours, the script contains all of the essential elements. Nunn takes full advantage of the rugged setting to eliminate the proscenium and draws excellent performances from his cast of British-trained stars led by Helena Bonham Carter as Olivia, Imogen Stubbs as Viola (posing as Rosario), Ben Kingsley as Feste, the clown, Nigel Hawthorne as Malvolio, the proud steward, Mel Smith as Sir Toby Belch who combines with Maria, played by Imelda Stuanton, to reduce Malvolio to ridicule and tears. Viola and her twin brother, Sebastian (Steven MacIntosh), are matched in height and coloring but, as is invariably the case in Twelfth Night, it requires the audience to be blind to the fact that there is no way they could be mistaken for one another. "Suspension of disbelief" is what is required and anyone accustomed to Shakespeare's mistaken identities readily provides it. Sebastian, Viola's twin, has a lesser role, of course, but Steven McIntosh fills it nicely as does Nicholas Farrell as Antonio, who rescues Sebastion from the sea when the ship carrying the twins breaks apart, leading each to believe that the other is dead. The lone weak spot in the cast is Toby Stevens as Orsino, too weak a personality to inspire Viola's love (though his spurning as a suitor by Bonham Carter's Olivia is easy to understand). The plot leading up to Malvolio's fall is stylishly executed and his downfall, in Nigel Hawthorne's extraordinarily capable hands, nearly reaches the level of tragedy.