That's about the only change that comes off as completely arbitrary, though. The rest of his Midsummer Night's Dream is purposefully and effectively streamlined; it's funny, wistful, and comprehensible. It helps that the story is already divided neatly into three: The main plot concerns a crisscrossed pair of couples--Helena (Calista Flockhart), who loves Demetrius (Christian Bale), who loves Hermia (Anna Friel), who loves Lysander (Dominic West). The subplot follows a troupe of actors, particularly leading man Bottom (Kevin Kline), as they prepare a play to celebrate the wedding of Theseus (David Strathairn) and Hippolyta (Sophie Marceau). The superplot that helps tie everything together is the feud between the King and Queen of the Fairies--Oberon (Rupert Everett) and Titania (Michelle Pfeiffer)--who meddle in the affairs of the mortals who get in their way, with the help of the mischievous Puck (Stanley Tucci).

Hoffman has drafted some heavy hitters to bring off this production, and most acquit themselves nicely. Yes, Bale is a little shrill, and Pfeiffer has trouble with the huffier passages, and Friel and West are pretty forgettable. But Flockhart brings a lot of comic misery to Helena, and Everett and Tucci make charming schemers. The heart of the film, though, is Kevin Kline. Hoffman expands the role of Bottom into some subtle, wordless scenes, which show the actor at home with his disapproving wife. Bottom was always central to the plot, but now his adventure takes on a bittersweet edge, as Kline shows his need to be the center of attention conflicting with his need for dignity.

Michael Hoffman has made several underrated films in the past, including the funny Soapdish, the grandiose Restoration, and the sweet One Fine Day. Of course, "underrated" is often a euphemism for "unsuccessful," and each of those films has weaknesses that almost outstrip their virtues. There are weaknesses in A Midsummer Night's Dream as well, from the stagy, often amateurish sets to the pointless era switch. What's more, each Shakespeare adapter has to ask himself, "What am I trying to bring to this familiar story?" and Hoffman doesn't seem to have a compelling answer, beyond his desire to capture the tale's whimsical spirit.

But he does make some good choices, particularly downplaying the tedious lovers' roundelay at the center of the play to get to the hilarious nuptial performance of Pyramus and Thisbe. Purists may say that by rushing to the laughs, Hoffman has turned the play into a trifle. To them, I say that it was always intended to be a trifle. Hoffman has merely made it a brisk and watchable one.