Trevor Nunn's direction of Shakespeare's "Twelfth Night" takes away some of the confusion present in the reading of the text, which begins with the complicated love interests of the main characters. Having been the artistic director for the world famous Royal Shakespeare Company for eighteen years, Nunn is vastly familiar with adaptations of Shakespeare's plays. Part of the comedy of this film develops from the first three acts of the play, which allow for a complex circle of interaction to develop within the film. Nunn's use of the prologue at the beginning of the film presents crucial information in an easy to understand, witty way. The film's prologue makes clear much of the play's primary confusion, and establishes the foundation on which the rest of the film may balance upon.
             Nunn's adaptation of "Twelfth Night" begins with the founding relationship in the play, the designs that Orsino expresses for Olivia. It is clear that this first interaction is the basis for others that occur, and it is also clear that both Shakespeare and Nunn utilize this interaction to create the comedic effects that happen because of the subsequent love interests. Orsino is not just an average courtly love, he is the Duke, and has considerable stature and respectability in his community. It is expected that his love for the Countess Olivia will be reciprocated, even in the midst of her grieving the loss of her brother. However, Duke Orsino's attempts at contact are met with disdain, but Olivia's lack of interest does not dissuade Orsino from continuing his pursuit.
             Duke Orsino is not a skilled romantic. His belief that he can compel Olivia into marriage through the expression of his feelings in messages demonstrates his lack of real passion in the situation and shows that he is of great stature, perhaps to belittle himself with courting. He is not Romeo hiding in the bushes for his Juliet, and this is one of the elements of separation that cause ...