Shakespeare and "She's the Man"

rom the ancient Greeks to modern movie makers, adaptation is a practice long used throughout the course of literary history. Adaptation is a lasting method of admiring revered texts and demonstrating their ability to inspire their readers. Ancient Greek myths were adapted over time as people shared them until eventually written down (“A Critical History of Film Adaptation). Many great works are adaptations of literature for performance on stage, and with the development of the film industry, into screenplays to create cinematic masterpieces. Cinema in and of itself is a masterful art form and creating cinematic adaptations of pieces of literature offers the producer a great deal of artistic license and freedom. This can be a difficult line to tread in the fact that it is very easy for a unique take on a classic tale to quickly become a grotesque distortion of a beloved story. There are two distinct classifications of adaptations: loose and straight adaptation (“Writing About Film Adaptation”. Often times, the straight adaptation successfully maintains the thematic structure developed by the original author, while loose adaptations can sometimes stray and distort the writer’s original meaning. Critics and scholars often judge adaptations harshly, especially remakes that are meant to represent well-loved stories, such as classic works. For example, many play directors and movie producers created a re-telling of William Shakespeare’s finest works and some have successfully brought the Bard’s work to life on stage and screen. Others, however; create pieces of film that are hardly identifiable as works of Shakespeare but are still enjoyable to watch. One such example of a cinematic adaptation of Shakespeare’s work is Andy Fickman’s film She’s the Man (2006) which is inspired by William Shakespeare’s high comedy Twelfth Night. Therefore, this paper will discuss the similarities and differences, as well as the interplay between character and theme inthe two works while attempting to discern whether or not this adaptation regards the Shakespeare play with respect to the playwright’s original intention and is a credible adaptation of the work.

First, before evaluating the specific elements of this play and film, it is important to discuss how to evaluate and review film adaptations. As mentioned previously, adaptation is a literary tradition, and even William Shakespeare himself adapted myths and legends from other cultures for his work (“A Critical History of Film Adaptation”). Reading and watching an adaptation are also distinctly different forms of entertainment, as reading is a decidedly solitary act while watching a movie or play is a community or group experience (“Writing About Film Adaptations”). These also reflect the production of these works, as one solitary person typically writes plays and books, while an entire team produces a film by contributing different perspectives and ideas which can impact the piece. It is important to note that it is nearly impossible to judge whether a film adaptation is better than an original text, because it is highly subjective and a matter of opinion. This does not mean, however; that a film adaptation cannot be judged in comparison to the parent text. Merriam Webster’s Dictionary defines an ‘adaptation’ as: “a composition rewritten into a new form,” which merely describes a change of genre, not quality (“Adaptation”). A film can be a masterful piece of art inspired by another work of literature, but still be vastly different and may not maintain the themes and ideas of the original work.

Additionally, there are two main classifications of adaptation to classify remakes by: loose and straight adaptations. Straight adaptations contain the original time period, plot, characterization, and theme; while loose remakes often maintain at least the same plot and then however change smaller details like setting, character, and time period (“Writing About Film Adaptation). For the sake of this essay, straight adaptions would suggest a higher respect for the original author’s intended meaning and thematic structure, while loose adaptations that have fewer elements in common with the parent text and therefore would be less respectful to the author’s intentions. Finally, it is important to note that there are several questions one must keep in mind while considering a film adaptation. For example, it is necessary to consider whether to watch the film on its own or the viewer should read the source text first. Also, how much of the remake reflects the text’s original elements? And most notably, if the screenwriter makes a change or alteration to any of these constructs, is the original author’s message and theme maintained (“Writing About Film Adapation”). Ultimately this paper will explore these questions through comparison of the use of formal elements by both director, Andy Fickman, and playwright, William Shakespeare.

First, character and characterization are key parts of both Twelfth Night and She’s the Man. The characters presented in Twelfth Night resemble Shakespeare’s typical characters as this is one of his later, more developed comedies. Shakespeare presents a complicated configuration of character that is frequently distorted by deception and disguise. The plot centers around three main characters: Olivia a noblewoman from Illyria, Orsino the Duke of Illyria, and Viola a noblewoman from Messaline that survives a shipwreck. At the outset of the play, Olivia mourns the death of her brother and refuses see anyone. Orsino’s attendant, Valentine, notes this saying, “…But from her handmaid do return this answer:/ the element itself, till seven years’ heat,/ shall not behold her face at ample view/ but like a cloistress she will veiled, walk,” in which he describes the conditions Olivia has put forth in dedication to grieving her brother’s death (Shakespeare, Twelfth Night, I, i, 24-27). He goes on to say that she will “…all this to season/ a brothers dead love, which she would keep fresh and lasting in her sad remembrance,” where Shakespeare clearly indicates the significance of love and devotion through Olivia’s commitment to mourning her brother through this extreme act (Shakespeare, Twelfth Night, I, i, 29-31). Olivia claims that she will not see anyone for seven years and will dress in a veil as a ‘cloistress’, mentioned by Valentine, which intimates the she will swear off love as a nun would to show her love for her lost brother. Olivia’s grief is a central element to the conflict of the story. Because Orsino dedicates himself to wooing her, and in her grief Olivia refuses to see anyone, Orsino must send Viola, dressed as the servant Cesario, to court the lady. Without her grief, the whole conflict would not develop as she would not have had an opportunity to fall in love with the wrong person by means of disguise. In contrast, Fickman’s Olivia’s (Ramsay) difficult situation is described by Andrew (Clifton Murray) who comments “Until recently, she was dating this college guy but then he dumped her. I hear she’s a total mess right now like, really vulnerable, confidence and self-esteem are way down,” (Fickman). This dilemma is supposed to compare to the death of a sibling. However, this statement is repeatedly undermined by Olivia’s actions as throughout the film, she continues to flirt with both Viola dressed as Sebastian and Duke. In fact, in the scene before this commentary, Olivia and Viola bump into each other and Olivia immediately begins flirting (Fickman). Therefore, the plot develops in a similar, but still very different way as the grief of Shakespeare’s Olivia feeds Orsino’s persistence, resulting in Olivia’s interest in Cesario continuing to bloom. This inconsistency in characterization and action weakens Olivia’s character development, and paints her not as a devoted, loving young woman, but instead as an unattached and uninvested teenager. This change in characterization, therefore modifies Shakespeare’s theme of being entirely devoted and passionate in love and in the pursuit of love.

In both forms, Olivia plays an active role in the development of her relationships, though it differs between the film and the play. Olivia does take matters into her own hands when she falls in love with Cesario (Viola) and attempts to woo him, while rejecting the Duke’s favors. While Shakespeare’s Olivia had sworn off men in order to mourn her brother, Fickman’s Olivia (Laura Ramsay) is very much ready to date again and takes interest several of the male characters presented. Olivia’s disposition, though a minor detail, is a significant foundational element of the plot as in She’s the Man, Duke does not send Sebastian (really Viola) in respect for Olivia’s wishes, but rather because of his own shortcomings and discomfort. For example, Duke implores Sebastian (Viola) rather aggressively saying “Come on… this is perfect! You-you get to spend an hour with her every other day. You can convince her to go out with me,” which shows how Duke does not need to use a third party to talk to Olivia because of her own wishes, but because of his discomfort (Fickman). Similarly, in both the play and the movie Olivia actively seeks out her own personal love interest, while ignoring Duke Orsino’s efforts to court her and faces rejection. Shakespeare’s Oliva gives Cesario tokens of her love such which Viola notes saying “I left no ring with her. What means this with my lady?/ Fortune forbid my outside have not charmed her!” where she realizes that her disguise might have actually made Olivia fall for the wrong person (Shakespeare Twelfth Night,II, ii, 17-18). Here, Shakespeare emphatically demonstrates his ideas of how deception and disguise can lead to romance developing between the wrong people and create hurt and confusion as Olivia has fallen for the wrong person. However, in Fickman’s version, Olivia (Ramsay) attempts to confess her love to Sebastian (Viola), who rejects her in this dialogue:

VIOLA (as Sebastian): Trust me, you’re not my type.

OLIVIA: Well, why not?

VIOLA (as Sebastian, stumbling): Well, um, it’s just that I…um… don’t think of you in that…way.

which only motivates her to make him jealous by flattering Duke Orsino (Fickman). This then complicates the plot, as Duke thinks he is succeeding in courting Olivia, and thus again alters the theme of deception as Olivia (Ramsay) deceives Duke by using him in order to gain Sebastian’s attention. Furthermore, this alters the theme of ambition from that of Twelfth Night, as Olivia becomes more ambitious than Duke Orsino and works to grow a relationship with Sebastian (Viola), her actual love interest.

Additionally, Duke Orsino of Illyria is a lovesick character who ambitiously and persistently attempts to find love. He begins the play lovesick, however; as the play progresses, Orsino becomes less lovesick and more determined in wooing Olivia, leading to him asking Viola dressed as Cesario to go visit Olivia’s estate on his behalf. Though he is the Duke of Illyria, he is still a powerful man and commanding in all of his efforts, however Shakespeare does not write him to be so intimidating but rather uses him a symbol of ambition and perseverance, which is a major theme found continuously in the play. Also, given the Duke’s status, he could theoretically demand to see Olivia himself, but because he is a gentle-man he respects her wishes, which again allows for Viola to see Olivia and therefore allows the conflict to develop further.

Duke Orsino of She’s the Man does not bear much resemblance, to the powerful nobleman of Shakespeare’s Twelfth Night. In essence, Duke Orsino and Orsino the Duke of Illyria, really only share a name and a social station. Duke Orsino (Channing Tatum) is the captain of the men’s soccer team at Illyria High School, which for a modern teenage social hierarchy, is the closest one can get to a duke. Duke Orsino is a much more conflicted character in She’s the Man compared to that of Twelfth Night, as in the movie, Duke (Tatum) attempts to establish himself as an important and dominant character but can also be excessively sensitive and anxious. First, the outset of the film establishes Duke as a strong and powerful character, as he has a reputation for having seriously hurt another soccer player from a different school. Viola, dressed Sebastian realizes it during the following exchange:

DUKE (laughing): I know him, I made him cry once during a game.

VIOLA (as Sebastien): Wait that was you?

DUKE (laughing): Absolutey. That was so funny!

where he appears more as a braggart or arrogant (Fickman). Later, Duke continues to establish this façade as he trains with soccer team, treats and speaks with Viola (as Sebastian) including hazing her, but most notably when he proclaims the most significant quote of the play “It's just like what Coach says before every game: Be not afraid of greatness, some are born great, some achieve greatness, and some have greatness thrust upon them. I think our best chance to be great here today, is to have you play,” (Fickman). In Shakespeare’s original text, this line said by Malvolio, Olivia’s dear friend, one of the most intimidating characters in the play as he continuously plots to deceive Olivia and the rest of her court. This change of both character and circumstance, ultimately impacts the quotations meaning, said by an inherently deceitful character who acts rather ambitiously in order to prosper, while Duke says it in order to boost the morale of his team and to motivate them. The movie uses Duke, the captain and leader, as well as the saying in order to be inspiring, while Shakespeare wrote the line for a character later determined to be inherently awful person to demonstrate that ambition can lead a person astray and compromise their character.

In contrast, an equally anxious and sensitive person who undermines the imposing figure of Duke Orsino. First, Duke loves Olivia and has for several years and dislikes when Viola pretending to be Sebastian speaks about her disrespectfully in the following dialogue:

VIOLA (as Sebastian): Check out the booty on that blondie!

TOBY: Uh-oh

DUKE (sternly, angrily): Don’t talk about her that way.

where he quickly comes to Olivia’s defense (Fickman). Also, Duke gets so anxious prior a date with Olivia that he has to be coached by Viola acting as Sebastian, who is typically considered the “inferior” man. Shakespeare writes the original textual version of Duke with intention of displaying character going through love sickness and the struggles of unrequited love, however Fickman’s Duke is an awkward young boy incapable of expressing feelings without extensive help from those around him. For example, Orsino laments at the outset of the play: “If music be the food of love, play on,/ give me excess of it; that surfeiting,/ the appetite may sicken, and so die,” where he exults his passion in his language (Shakespeare, Twelfth Night, I, i, 1-3). Orsino is so heartbroken and discouraged by his failed attempts to court Olivia, that he wishes to be done with love entirely. Contrastingly, Duke Orsino of She’s the Man stumbles through the following dialogue as he finally musters the courage to ask Olivia on a date himself though she only agrees to make Sebastian (Viola) jealous. Duke begins saying:

OLIVIA (coquettishly): Hey Duke… Sebastian.

DUKE (in a high-pitched tone): Uh… Olivia.

OLIVIA: What are you bench pressing these days, Duke? (awed tone) 225…very impressive.

DUKE (giggles, speaks breathlessly): uh…thanks.

where he comes off as intensely uncomfortable and awkward, rather than suave, confident, and passionate like Shakespeare intended (Fickman). This conflict in characterization within one character creates discord and weakens the credibility of the role, especially with such stark contrast between a strong leader and a rather awkward coward.

Also, Duke’s character in She’s the Man takes away from the themes and conflicts originally presented in Twelfth Night. First, the cowardice exhibited by Duke is the main reason he relies on Sebastian to speak to Olivia on his behalf. This is separate entirely from the Orsino’s motivations in the play as Orsino wanted to respect Olivia’s wishes to not see any suitors which demonstrated his commitment to Olivia and his passion for their love. Duke’s use of an intermediary in developing his relationship diminishes that idea of ambition so starkly set up in the original text of Twelfth Night, and instead paints Duke as a more apprehensive character in the film. Similarly, in Shakespeare’s play, Orsino remains steadfast in his love for Olivia until the very end when Olivia reveals that she fell in love with Viola in costume, however in the film Duke’s interests oscillate between Olivia and Viola which continues to undermine his character as he does not display the loyalty and virtue of his namesake. He is also bitter and contemptuous after Viola reveals herself as having acted as Sebastian in contrast to Orsino in Shakespeare’s play that was more understanding of the confusion and far more accepting. Duke Orsino’s character in She’s the Man truly is a terrible distortion of the nobleman William Shakespeare in Twelfth Night, and several aspects of his personality both complicate and negatively impact the theme and conflict throughout the movie, and Duke does not accurately portray the character nor the themes Shakespeare developed in his original work.

Finally, Viola plays an integral role in the progression of plot and furthering of the conflict throughout the play. She is a dignified noblewoman who comes from a distant land following a traumatic shipwreck. Even this is a significant detail, because if she had not been ship-wrecked she would not have had to disguise herself to work as a servant for Orsino, which is how she ends up representing him at Olivia’s estate. Secondly, during this shipwreck, Viola’s brother, Sebastian, whom they presume is dead until he returns well and very much alive, in Illyria creates more confusion and complicates matters, which furthers Shakespeare’s theme of confusion found throughout the plot. However, Viola is another character that has been significantly distorted in Fickman’s remake of the classic comedy. Viola Hastings is a tomboy turned debutant, which is Fickman’s attempt to create a noblewoman in a more modern society. First, a major change that Fickman incorporates into She’s the Man is that Viola (Amanda Bynes) does not create another character to impersonate, rather she impersonates her own twin brother. This is possible due to the fact that there is no traumatic event that she endures, in fact Viola ends up at Illyria high instead for the opportunity to play on a boys’ soccer team while her brother pursues a music career in Europe. At the start of the film, Viola learns that the girls’ soccer team has been disbanded at Cornwall High and confronts the boys’ soccer team in an attempt to try out for their team. The coach responds firmly saying “Girls aren’t as fast as boys. Or strong. Or as athletic. And that’s not me talking. It’s scientific fact. Girls can’t beat boys,” which immediately angers Viola and makes her want to work even harder to play (Fickman). She even responds saying, “If you can’t join ‘em, beat ‘em” which indicates the Viola’s becomes playing soccer and proving herself (Fickman). This change in motivation completely alters Viola’s (Bynes) focus throughout the course of the film from a love interest, to playing soccer and proving herself to be just as deft a player as the boys she plays against. This undermines the theme of love found throughout the original play, while establishing a more ambitious and feminist theme more significantly demonstrated over the course of the film.

Though it is clear that Fickman needs Viola to impersonate Sebastian in order to establish the conflict and scenario and without that the plot would not really be able to develop, however in Shakespeare’s text the effect is much more significant and impactful. Because Viola (Bynes) must impersonate her brother, she must act in specific way to set a foundation for her brother to continue at Illyria. Also, because she has to act as a specific person, it limits what Viola can say and how can she behave in ways that were not present for Shakespeare’s Viola acting as Cesario. For example, as Viola (Bynes) struggles to adapt to the unfamiliar world of being a teenage boy she forces herself to fit a mold that she has no idea how to impersonate and she occasionally makes mistakes. Viola finds herself in the following dialogue with Duke Orsino (Tatum):

VIOLA (as Sebastian): What does your heart tell you?

DUKE: huh?

VIOLA (clears throat): I mean uh which one would you rather see naked!

DUKE: What? Why..What…why, why do you always do that? Why do you always talk about girls in such graphic terms?

where Duke notices the flaws in her façade (Fickman). There it becomes clear that Viola’s acting feels forced and is not as effective because she not only is taking on an unfamiliar role but also behaves intentionally to maintain the image of her brother and keep up her ruse. Shakespeare’s Viola is much more familiar and comfortable taking up her role as Cesario, and because she does not face the pressure of establishing a foundation for someone else’s future experiences and encounters with people, acts much more naturally and it is vastly more believable. Additionally, because Shakespeare introduces Sebastian so late as a final twist or surprise in Twelfth Night, it develops the climax of the conflict as it creates an immense amount of confusion at the height of the action of the play in one centralized moment. It is more intense and bears much more heavily on the scene as so much is going on as romances are coming to fruition, with the addition of confusion and disguise, the culmination of all of these elements feels vastly heavier on the plot and more significant. Because Fickman presents this confusion and element of disguise throughout the entirety of the film, it is less intense because the audience knows that all of the deception will eventually be found out once Sebastian (James Kirk) returns from London in the climactic final soccer game against Cornwall. Notably, Viola is first mistaken for her brother in the first five minutes of the movie by Sebastian’s girlfriend, which suggests just how prevalent this concept is throughout the film. Therefore, though the themes of deception and disguise occur frequently throughout the course of She’s the Man, that does not mean it is as effective as in Shakespeare’s original work where the use of surprise and disguise is much more impactful.

Another example of a change in Viola’s characterization that also impacts the film’s theme is her innate ambition. This change is evident in her interactions with both Duke and Olivia, as Viola (Bynes) has developed a romantic interest in Duke Orsino. Because of this development, which proves consistent with the Viola of Shakespeare’s play, Fickman’s Viola attempts to dissuade both Olivia and Duke from being interested in each other in order for her own personal gain. Viola confronts Olivia at a debutante event and purposely tells her lies about Duke, to dissuade her from pursuing any interest in him. Viola (Bynes) says “It’s nothing serious but try to postpone [kissing him] as long as possible. He has this -uh salivary gland condition. Yeah he doesn’t really like to talk about it but I was drowning,” where she clearly tells a lie to serve her own interests, and not actually help Duke develop a relationship with Olivia (Fickman). This is in contrast to the Viola of Shakespeare’s work that willingly watched and aided the man she loved court another woman, because she wanted him to be happy. In Fickman’s retelling, Viola puts her own interests above those of her lover, while the opposite is true of Shakespeare’s Viola who would readily give up Orsino for him to be happy. For example, Shakespeare’s Viola puts aside her own interests in favor of the one she loves by serving Duke Orsino. Viola even says, after having received her orders from Orsino “I’ll do my best/ to woo your lady. [Aside] Yet a barful strife!/ whoe’er I woo, myself would be his wife,” (Shakespeare Twelfth Night, I, iv, 40-43). It is here that Viola first claims her love for Orsino, but also notes how difficult it is to help the one you love find love in someone else. Thus, Shakespeare further establishes his theme that real love is truly devotional, and that one might have to risk losing their lover in order for their lover to be happy, as Viola does for Orsino. Had she been overly ambitious herself, she likely would have attempted to dissuade Olivia from accepting Orsino’s tokens of favor, but because Viola loves Orsino she abides by his wishes. This change in character, though small, does distort the theme and intention of Shakespeare’s original work as Fickman’s Viola demonstrates the theme of ambition more so than the one of devotion and love.

Thus, through the comparison of character and characterization in both Shakespeare’s Twelfth Night and Andy Fickman’s film She’s the Man, it becomes clear how integral these elements are in the development of theme and overarching message. Though deception and disguise were common themes throughout both pieces, Shakespeare’s more sparing use of it was much more intentional throughout his piece and therefore more intense in the climax of his play. In contrast. However; Andy Fickman focused on and utilized disguise far more throughout his film made the theme less effective overall, as the oversaturation of disguise diffuses the intensity of the theme as the audience anticipates that all well come crashing down when such a complicated deception is put into place. Additionally, Fickman’s interpretation almost entirely modifies the theme of ambition away from Shakespeare’s idea that drive and perseverance is key to accomplishing goals and being successful, to something more focused on feminism. Because the characters that are most ambitious are Viola and Olivia who are both women, who stoop to malicious and selfish means to get what they want, and the fact that there is outright sexist commentary that motivates them to act all suggest a heavy overtone of feminism in this piece. While gender was incorporated into the original work through disguise and confusion, Shakespeare never took an expressly feminist stance, unlike Fickman. Also, because feminism and empowering women have such a strong impact on both the characters and the plot, the central theme of the film shifts from Shakespeare’s intended ambition to feminism which ultimately changes the meaning of the adaptation.

In summary, in viewing Andy Fickman’s remake She’s the Man with its parent text, Shakespeare’s Twelfth Night, it is clear that Fickman has curated a loose adaptation. In close adaptations, many elements are altered but frequently new creator maintains the original author’s message and theme is maintained in spite of these changes. Though much about Twelfth Night was changed during the making of She’s the Man including character, time period, language, and plot the most blatant modification is that of the theme. Which, through a culmination of changes in all of the primary text’s elements, focuses more on a feminist messaging than on Shakespeare’s original idea that ambition and perseverance are integral to success as well as the role of devotion in love. Because Fickman’s adaptation is so separate from the parent text, it suggests that Fickman treated Shakespeare’s original work with little respect as he did not attempt to maintain even the basic ideas Twelfth Night attempts to establish. Instead, Fickman created a vague reference to a classic piece of literature that is closer to its own separate and unique work than an adaptation. Though adaptation endures as a practice in the world of literature which presents readers with countless characters, plots, and messages it is through comparing adaptions and originals that it becomes clear just how integral each individual element of a literary work is in the development of a theme or message. In adaptation, readers and viewers can see how modifying even the smallest details can completely warp or clarify an author’s theme, though it is nearly impossible to determine which is more valid. Though a loose adaptation may leave a reader disappointed that it is not quite a true depiction of a beloved text, it is an important practice that reminds literary scholars of the craft, effort, and intention that goes into forming such awe-inspiring works. It is this craft that keeps literature relevant and lasting, a puzzle continuously evolving and growing as more and more minds explore and appreciate its depth and dignity.

Works Consulted:

“Adaptation.” Merriam-Webster, Merriam-Webster, 2019,

www.merriamwebster.com/dictionary/adaptation.

Fickman, Andy, director. She's the Man. Dreamworks/ Lakeshore Entertainment, 2006.

Hall, Lynda. “A Critical History of Film Adaptation.” Cultural History, Department of English and Comparative Literature- Chapman University, www1.chapman.edu/~lhall/webpage/criticalhistory.html.

Hall, Lynda. “Writing about Film Adaptations:” Index, Department of English and Comparative Literature- Chapman University, www1.chapman.edu/~lhall/webpage/index.html.

Shakespeare, William. “Twelfth Night.” The Riverside Shakespeare, edited by G. Blakemore Evans, 2nd ed., Houghton Mifflin, 1997, pp. 437–477.