As You Like It
Romance...or something like it.
2006 | 127m | English
Popularity: 1 (history)
| Director: | Kenneth Branagh |
|---|---|
| Writer: | Kenneth Branagh, William Shakespeare |
| Staring: |
| Witty, playful and utterly magical, the story is a compelling romantic adventure in which Rosalind and Orlando's celebrated courtship is played out against a backdrop of political rivalry, banishment and exile in the Forest of Arden - set in 19th-century Japan. | |
| Release Date: | Sep 01, 2006 |
|---|---|
| Director: | Kenneth Branagh |
| Writer: | Kenneth Branagh, William Shakespeare |
| Genres: | Comedy, Drama, Romance |
| Keywords | japan, theater play |
| Production Companies | BBC Film, Shakespeare Film Company, HBO Films |
| Box Office |
Revenue: $0
Budget: $0 |
| Updates |
Updated: Feb 05, 2026 Entered: Apr 13, 2024 |
| Name | Character |
|---|---|
| Romola Garai | Celia |
| Kevin Kline | Jaques |
| Bryce Dallas Howard | Rosalind |
| Adrian Lester | Oliver De Boys |
| Janet McTeer | Audrey |
| Alfred Molina | Touchstone |
| David Oyelowo | Orlando De Boys |
| Jimmy Yuill | Corin |
| Brian Blessed | Duke Senior/Duke Frederick |
| Richard Briers | Adam |
| Takuya Shimada | Geisha |
| Richard Clifford | Le Beau |
| Patrick Doyle | Amiens |
| Gerard Horan | Denis |
| Nobuyuki Takano | Charles |
| Paul Chan | William |
| Alex Wyndham | Silvius |
| Jade Jefferies | Phoebe |
| Jotham Annan | Jaques De Boys |
| Jonathan Broadbent | Duke Senior's man |
| Justin Hoong-Fai Chan | Duke Senior's Man |
| Iain Stuart Robertson | Duke Senior's Man |
| Youki Yamamoto | Duke Senior's Man |
| Kenneth Branagh | Self (voice) |
| Name | Job |
|---|---|
| Kenneth Branagh | Director, Writer |
| William Shakespeare | Author |
| Patrick Doyle | Original Music Composer, Orchestrator |
| Susannah Buxton | Costume Design |
| Christian S. Andersson | Art Direction |
| Tim Harvey | Production Design |
| Ed Colyer | Sound Mixer, ADR Mixer |
| Dan Johnson | Sound Re-Recording Mixer |
| Roger Lanser | Director of Photography |
| Abi Groves | Set Decoration |
| Loulia Sheppard | Makeup Artist |
| Howard Bargroff | Sound Re-Recording Mixer |
| Les Benson | Props, Dressing Prop |
| Neil Farrell | Editor |
| Susan Howard | Makeup Artist |
| Andrea King | Foley Artist |
| Sarah Bird | Casting |
| Jenny Shircore | Makeup Designer, Hair Designer |
| Rod Woodruff | Stunt Coordinator |
| Trevor Steedman | Stunt Coordinator |
| Bruce Cain | Stunts |
| Richard Dwyer | Stunts |
| Richard Hansen | Stunts |
| Chris Newton | Stunts |
| Arran Topham | Stunts |
| Steve Truglia | Stunts |
| Matthew Webster | Stunts |
| Angus More Gordon | Unit Production Manager |
| Josh Robertson | First Assistant Director |
| Dan John | Second Assistant Director |
| Pete Cavaciuti | Steadicam Operator, "B" Camera Operator |
| Julian Morson | Steadicam Operator, "B" Camera Operator |
| Sean McClory | First Assistant "A" Camera |
| Jennie Paddon | Camera Loader |
| Brian Greenway | Camera Trainee |
| Fiona Forsyth | Art Department Assistant |
| Iain White | Standby Art Director |
| Caroline McCall | Assistant Costume Designer |
| Fiona McCann | Costume Supervisor |
| Faith Thomas | Set Costumer |
| Verity Cleary | Wardrobe Intern |
| Peter Glossop | Sound Mixer |
| Shaun Mills | Boom Operator |
| Ken Pettigrew | Gaffer |
| Brian Sullivan | Best Boy Electrician |
| Ray Bateman | Electrician |
| Mike Parsons | Electrician |
| Peter Robinson | Rigging Gaffer |
| Mark Binnall | Key Grip |
| Andy Edridge | Grip |
| Clarissa Newman | Production Coordinator |
| Janine Abery | Assistant Production Coordinator |
| Shruti Shah | Production Accountant |
| Kerry Smith | First Assistant Accountant |
| Dan Hillsdon | Assistant Accountant |
| Lara Sargent | Post Production Accountant |
| Maxie McDonald | Property Master |
| Neil Murrum | Props |
| Sarah Hayward | Script Supervisor |
| Laurie Sparham | Still Photographer |
| Clive Trott | Location Manager |
| Simon Fiddler | Location Assistant |
| Jonny Benson | Third Assistant Director |
| Paul Corbould | Special Effects Supervisor |
| Gail Corbould | Special Effects Coordinator |
| Andrew Melhuish | Assistant Editor |
| Alistair Hopkins | Post Production Supervisor |
| Stuart Hopps | Choreographer |
| Roisin Carty | Dialogue Coach |
| Neil Swain | Dialect Coach |
| Terry Pritchard | Transportation Captain |
| Gene D'Cruze | Construction Manager |
| Bernard O'Reilly | Supervising Sound Editor |
| Michele Woods | Supervising Dialogue Editor |
| Owen Bleasdale | Foley Recordist, Foley Editor |
| Barnaby Smyth | Foley Recordist, Foley Editor |
| Melissa Lake | Foley Artist |
| Gareth Llewellyn | ADR Recordist |
| Stephen Elson | Visual Effects Producer |
| Val Wardlaw | Visual Effects Supervisor |
| James Shearman | Conductor, Orchestrator |
| James McWilliam | Orchestrator |
| Lawrence Ashmore | Orchestrator |
| Chris Benstead | Music Editor |
| Name | Title |
|---|---|
| Kenneth Branagh | Producer |
| Judy Hofflund | Producer |
| Simon Moseley | Producer |
| Organization | Category | Person |
|---|
Popularity History
| Year | Month | Avg | Max | Min |
|---|---|---|---|---|
| 2024 | 4 | 12 | 17 | 9 |
| 2024 | 5 | 13 | 22 | 8 |
| 2024 | 6 | 11 | 18 | 6 |
| 2024 | 7 | 12 | 22 | 6 |
| 2024 | 8 | 13 | 24 | 7 |
| 2024 | 9 | 10 | 16 | 4 |
| 2024 | 10 | 14 | 32 | 6 |
| 2024 | 11 | 8 | 12 | 5 |
| 2024 | 12 | 11 | 21 | 6 |
| 2025 | 1 | 9 | 15 | 5 |
| 2025 | 2 | 7 | 11 | 3 |
| 2025 | 3 | 4 | 7 | 1 |
| 2025 | 4 | 2 | 5 | 1 |
| 2025 | 5 | 2 | 5 | 1 |
| 2025 | 6 | 1 | 3 | 1 |
| 2025 | 7 | 1 | 2 | 0 |
| 2025 | 8 | 1 | 1 | 0 |
| 2025 | 9 | 1 | 1 | 0 |
| 2025 | 10 | 1 | 2 | 0 |
| 2025 | 11 | 3 | 4 | 1 |
| 2025 | 12 | 1 | 2 | 0 |
| 2026 | 1 | 0 | 1 | 0 |
| 2026 | 2 | 1 | 1 | 0 |
Trending Position
I believe Kenneth Branagh's Shakespeare based films are a great success. I don't mean that they got good reviews and made box office bank. For me, his **HENRY V** was the first time watching Shakespeare I was intrigued and, frankly followed the language and story. His **MUCH ADO ABOUT NOTHING** and ... his **HAMLET** reinforced my opinion. I even thought it possible that we would eventually see 37-ish Shakespeare stories enjoyed by modern audiences. While it may still happen, its unlikely to be completely under the directorial eye of Branagh. Maybe others felt this way, as a new company was formed - _THE SHAKESPEARE FILM company_. A production company under Branagh dedicated to Shakespeare productions. The company underperformed considerably with **LOVE'S LABOUR'S LOST** and was shuttered after the only slightly more promising follow-up... > **_AS YOU LIKE IT_** Duke Senior reigns over a happy community, until his jealous brother banishes the Duke and takes his throne by force. The story follows the banished king's daughter as she navigates her love for a young farmer while under the gaze of the disapproving uncle. This film has a high powered cast. There is another lyrical score by Patrick Doyle. The cinematography and production design are beautiful. Placing the story in Japan is intriguing. It has a lot going for it. Yet, it seems muddy and unclear. The first portion of the film confidently plants Shakespeare's story into a Shogun ruled Japan. Yet, the story seems to meander away from that until only the costuming suggests Japanese influence. Maybe relocating the story to this cultural environment was a meal not fully cooked. Bryce Dallas Howard carries the film as a smiling and intelligent Rosalind. The excellent Alfred Molina is the clown whose scenes contain the only humorous material. Much of Branagh's Shakespeare community fills in several roles including my favorite, Brian Blessed playing the empathetic banished king and his tyrannical usurping brother. Depressingly, the usually wonderful Kevin Kline gives a quiet and toothless performance of Jaques which renders him forgotten by the time the credits role. Similarly wasted is Adrian Lester. Branagh certainly knows how to make money look good on screen. His approach adapting the bard's work is not as strong or confident as his earliest efforts. Maybe this says more about the original source, but there are surprising things that have to reflect today's choices. Most obviously, why is the plays most popular _All the world's a stage_ quote is delivered over a soft focus pan of Jaques sitting in the blurred distance. It is lost and forgotten. **AS YOU LIKE IT** is leaps better than **LOVE'S LABOUR'S LOST**, but not enough to keep the new _Shakespeare Film Company_ alive. Other filmmakers have stepped up and are offering great modern takes on Shakespeare without twisting his language and story to unrecognizable propaganda. We may see the Shakespeare Cinematic Universe after all.