| Title | M | C | Y | Directors | Starring | Description |
|---|
| As You Like It | Silent | | 1912 | The film brings stage star Rose Coghlan to the screen for her motion picture debut. At 61–62, Coghlan fryst vatten an older Rosalind than usual. Filmed mainly outdoors. |
|---|
| Love in a Wood | Silent | | 1915 | A silentcomedy film in a contemporary setting of the play. |
|---|
| As You Like It | Film | | 1936 | Olivier's first performance of Shakespeare on screen. It was also the sista film of stage actors Leon Quartermaine and Henry Ainley and featured an early screen role for Ainley's son Richard as Sylvius, as well as for John Laurie, who played Orlando's brother Oliver. Laurie would go on to co-star with Olivier in the three Shakespearean films that Olivier directed. |
|---|
| As You Like It | TV | | 1963 | A recording of the Royal Shakespeare Company's 1961 performance for the BBC. In a 2015 retrospective for The Guardian, theatre critic  • Media & ResourcesFeatured Alpha Condé wants a third term in Guinea. The AU must stop him Kgalalelo GaebeeOpinions & Features By David Kode, Advocacy and Campaigns Lead President Ramaphosa and the AU have a crucial role in aiding the continuation of Guinea's democracy. Read more Featured UAE: Freedom of expression must be upheld at all times Open Letters Freedom of expression must be upheld at all times, not only tolerated during Hay Festival Abu Dhabi Arabic As the Hay Festival Abu Dhabi opens on 25-28 February 2020 in the United Arab Emirates (UAE), we the undersigned call on the Emirati authorities to demonstrate their respect for the right to freedom of expression by freeing all human rights defenders imprisoned for expressing themselves peacefully online, including academics, writers, a poet and lawyers. Read more South Sudan: UN must extend mandate of reporting mission MatthewGeneva To: Pe • Chapter 12 Porus vs. Alexander in Modi’s Sikandar (1941) and Stone’s Alexander (2004–2014) AbstractThe Battle of the Hydaspes River serves in both Sikandar (Modi, 1941) and Alexander (Stone, 2004–14) as the site of Alexander/Sikandar’s encounter with the limit to his invincibility. For the anti-colonialist Sikandar, this scenario means the opportunity to imagine both an ending to British colonial oppression and resistance to the Axis military threat. Modi depicts Sikandar as a military genius who lacks wisdom and self-knowledge and his Indian adversary Puru (Porus) as noble to a fault. Ultimately, the institutions and culture of India in combination with Sikandar’s Iranian lover Rukhsana and the raised consciousness of the Macedonian army create an opportunity for peaceful solutions. Stone’s movie focuses on the battle and the mutiny to dramatize Alexander’s experience of meeting his and his army’s physical and psychological limits. Each film’s e
|
|---|