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I f you get half a dozen viewers of this lovely film together across a table and ask them what the film was all about after they had watched it, you are likely to get up to six different views on the same film.  One would say it is a comedy. One would consider it to be a caper film. One would call it is a cinematic essay on the virtues of single malt whisky.  Another would see it as a study of dilemmas facing the urban Scottish youth today.  Yet another would see the movie as a critical look at the prevalent judicial system and its inadequate ways to reform delinquents who would love to reform and seek a life far away from the urban violence and gang warfare that they are involuntarily pulled into. A smart guy could interpret the tale as a family film, on the virtues of  looking ahead to build a financially secure future for your nuclear family. And there could be yet another view that this is a lopsided movie where the “bad” guys win. And all of these perceptions of...

C aesar Must Die is a movie that revolves around Shakespeare’s tragedy Julius Caesar and yet it is not a film that unfolds the entire play.  If a viewer, who has not read the play, went to see this movie, the viewer will have a blinkered view of the power of the written work, mainly because the play is never presented in full in this movie. However, a viewer who has read/studied the play will be able to grasp the subtle nuances of the film a lot more than a viewer who is not familiar with the play. Why is that? Why did the film win the Golden Bear for the Best Film at the Berlin Film Festival? To answer those questions one needs to start with a requisite understanding of where the filmmakers of Caesar Must Die are coming from—what they have done in their past cinematic works and what they are attempting now in this film. The Roman Senate recreated with prison walls for rehearsals F irst, the Tavianis are two Italian brothers, both journalists turned film directors and screenplay w...