Shakespeare Plays Available in Video Format
Scholars Online Educational Resources


All’s Well That Ends Well
Antony and Cleopatra
As You Like It
The Comedy of Errors
Henry IV, part 1
Henry IV, part 2
Henry V
Henry VI, part 1
Henry VI, part 2
Henry VI, part 3
Henry VIII
Julius Caesar
King John
King Lear
Love’s Labour’s Lost
Measure for Measure
The Merchant of Venice
The Merry Wives of Windsor
A Midsummer Night’s Dream
Much Ado About Nothing
Richard II
Richard III
Romeo and Juliet
The Taming of the Shrew
The Tempest
Timon of Athens
Titus Andronicus
Troilus and Cressida
Twelfth Night
Two Gentlemen of Verona
The Winter’s Tale

Available versions

1950: David Bradley

1953: Joseph L. Mankiewicz

1970: Stuart Burge

1979: Herbert Wise

2012: Gregory Doran


1992: Yuri Kulakov (animated)


Macbeth, 1954: George Schaefer (extras)


2018: Shakespeare Uncovered (Season 3, Ep. 4)

Julius Caesar

This is one of Shakespeare’s earlier tragedies, often studied in school, often considered inferior to the “great” tragedies Macbeth, Hamlet, King Lear, Othello, and perhaps Antony and Cleopatra. As such it is treated oddly: it’s seldom read as carefully for its specific nuances of character, and it has received somewhat less critical attention. In fact it’s nevertheless a fairly tight play, perhaps lacking the sophistication and depth of characterization of Shakespeare’s greatest efforts, but still tightly framed in the manner of, say, Aeschylean tragedy. It’s worth reading and seeing and attending to closely.

One might well question the title of the play: it is indeed about the death of Julius Caesar and the events that follow it, but primarily if it’s about anyone in particular, it’s more about Brutus (the leader of the assassins) and Mark Antony, who led the Caesarian faction against him. Julius Caesar is dead before the halfway point in the play.

Like some of Shakespeare’s histories and like his Roman tragedies (leaving aside TItus Andronicus as pure fiction, this class really would encompass this play, Coriolanus, and Antony and Cleopatra), this play also contains a fair amount of discourse that could be seen as having a bearing on contemporary political reality.

Unfortunately, all this tends to mean that there is at least a potential doctrinaire burden to the play that some producers and filmmakers are all to willing to jump on. It’s been used to support some kind of hidden political discourse in a number of situations, and there are several versions of it that really just aren’t very good. A good production, though, is worth seeing.

Not everyone has loved this play. George Bernard Shaw in particular disliked it: largely in response, he wrote his own Caesar and Cleopatra, linked at the Project Gutenberg site here. One can even see Shaw live making his rather arrogant response to Shakespeare’s take on Caesar appended, inexplicably, to the DVD of the Macbeth production by George Schaefer (1954).