Tag: England

This Happy Breed (1944) – A Movie Review

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This Happy Breed is a fictional portrayal of life in working class England from the end of the First World War to the eve of the Second world War.  I won’t give any spoiler warnings because it’s not that kind of movie.  It’s an intimate look at a family in suburban London between the wars and all of the important and trivial things that make up human life.

Frank Gibbons (played by Robert Newton) returns from war to his family; wife Ethel (played by Celia Johnson), his teenage son Reg, his daughters Vi and Queenie, his mother-in-law Mrs. Flint and his sister Sylvia, all living under his roof.  His next-door neighbor Bob Mitchell is a war buddy and becomes Frank’s best friend.  And Bob’s son Billy will eventually become Queenie’s boyfriend.

Over the course of the twenty years that the movie covers we watch the children grow up, navigate the troubled economy of Britain between the wars, fall in love, marry and in one case die tragically.  Children rebel against their parents’ expectations and mores and come out the other side older and sadder and much like their parents.

The movie is a slice of life in three acts and a total of nine scenes spread across those twenty years.  I guess what I liked about the film is the feeling of believability about the characters but at the same time the likeability of most of them.  Even though they were Brits and from a time period before I was born, they felt strangely familiar.  And I was invested in their stories.  You could actually care how things turned out for them because they were decent people trying to muddle through their lives during a period of history when England was still reeling from the loss of a generation of young men in World War I and staggering under the global economic changes that would reduce them to a poorer nation.  Frank and Ethel love their family and try their best to steer their children in the right direction.

There are moments of pathos and humor.  And the acting is top notch without any flashiness or highbrow dialog.  Just simple people living their lives.  I’m not sure who I would recommend this movie to.  First remember that for Americans the British locale might make it a little strange.  But actually, I didn’t think it was off-putting.  Events like the death of their king or the 1926 General Strike might seem unfamiliar but not mysterious.  If the description I give here doesn’t sound interesting then give this a pass.  But I consider it a gem of a film that I’m surprised I never saw before.  Highly recommended.

Nigel Farage Will Run for Seat in Parliament

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Now that the Tories have used their time in power to prove themselves clowns and enemies of freedom Nigel Farage has decided to give the normal people of England a better choice than the almost equally awful Labor Party.  He’ll be running as a candidate of the Reform UK party.  Farage is the father of the Brexit movement and a businessman.  And he wants to replace the Tories with something better.

It will take a while for the Reform party to gather up the disgusted former Tory voters so Labor will be in charge for the foreseeable future.  But just as with the RINOs in America you can’t make any progress until you eliminate the wolves in sheep’s clothing.  Kudos to Farage for beginning the long project that needs to happen.

Master And Commander – The Far Side of the World (2003) – A Movie Review

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I’d heard a good deal about this movie from a friend of mine who was of old Yankee blood and a sailor.  I finally got a chance to see it last week.

(Spoiler Alert – Skip down to last paragraph to avoid spoilers and read recommendation)

The story follows the adventures of the crew of the HMS Surprise during the Napoleonic Wars as its captain, Jack Aubrey, (played by Russell Crowe) chases a French privateer, the heavy frigate Acheron, from the coastal waters of Brazil, around the Cape Horn and into the tropical waters of the Pacific.

Because the Acheron has a much more substantial hull the Surprise is heavily damaged during their first engagement off Brazil while the Acheron is virtually undamaged.  Aubrey foregoes a lengthy refitting in port and instead makes hasty repairs at sea while doing his best to pursue the Acheron.  But because of the Acheron’s superior battle capability it becomes a cat and mouse game where the Surprise is sometimes the pursued.

And while all this goes on, we meet the rest of the crew.  The ship’s surgeon, Stephen Maturin is played by Paul Bettany.  The doctor not only can saw off a midshipman’s arm as needed but he’s also the captain’s accompanist in their musical string duo.  I kid you not.  The crew and the officers have a complicated relationship with strict discipline and primitive superstition both playing a part.

Eventually through luck and guile Aubrey engineers the attack on the Acheron and we get an epic sea battle with the Surprise’s crew boarding the Acheron.  And the Surprise is victorious and captain and crew prepare for the business of bringing the captured Acheron to port.

So, what’s the story with this movie?  Why do some people rave about it?  The first thing I noticed was that the movie successfully captured the claustrophobic crowdedness of these sailing ships.  You can feel the lack of air in the hold where the crew sleeps cheek to jowl.  It feels real.  Less like Hollywood’s version of the 19th century English navy.  Right down to some of the midshipman being essentially boys of twelve years or so.  Then there’s Russell Crowe’s portrayal of Aubrey.  Crowe is a damn good actor.  He makes the captain a real figure.  You can believe in him.  And Aubrey and Maturin’s friendship and clashes also ring true.  The man of action and the man of science confronting their conflicting priorities as best they can.  And lastly, the battle scenes are very well done and highly exciting.  The only part of the story that I had trouble with was the final battle.  The boarding scene was intentionally chaotic.  Such an event would have to be.  But honestly at many points I couldn’t tell which side was doing what to whom.  It didn’t ruin the film but I thought it could have been a little less indecipherable.  I enjoyed the movie and would recommend it to lovers of adventure and students of history.

The Bounty Trilogy – A Book Review – Part 2 – “Men Against the Sea” & “Pitcairn’s Island”

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In this second part of this book review of the Bounty Trilogy I’ll include both of the remaining stories.  I think this is reasonable because neither of these later “books” has the same narrative clout as “Mutiny on the Bounty.”  Although each story has remarkable human interest and involves harrowing danger and human suffering neither is as dynamic as the tale in Mutiny.  And for this reason, I think I can do justice to both in this single review.

 

Men Against the Sea

(Spoiler Alert – Skip down to last paragraph to avoid spoilers and read recommendation)

Men Against the Sea is the narrative of Captain Bligh’s Sea voyage.  I’ll let the narrator Thomas Ledward, the Bounty’s Acting Surgeon summarize the voyage, “Never, perhaps, in the history of the sea has a captain performed a feat more remarkable than Mr. Bligh’s, in navigating a small, open, and unarmed boat–but twenty-three feet long, and so heavily laden that she was in constant danger of foundering–from the Friendly Islands to Timor, a distance of three thousand, six hundred miles, through groups of islands inhabited by ferocious savages, and across a vast uncharted ocean. Eighteen of us were huddled on the thwarts as we ran for forty-one days before strong easterly gales, bailing almost continually to keep afloat, and exposed to torrential rains by day and by night.”

And that description gives us the gist of the book.  But as remarkable as that voyage was what’s it like as a story?  I would say that the story is passably interesting and we do get a flavor of each of the passengers and especially Bligh but the circumstances of the story are on the whole too static to make the adventure come fully to life.  For this I don’t fully fault the authors.  I’m not sure anyone could figure out a way to fully document the voyage and still give the story a dynamic feel.  Instead, the book faithfully portrays the oppressive, claustrophobic atmosphere that eighteen men trapped on a twenty-three-foot boat for forty-one days must have been like.

Pitcairn’s Island

(Spoiler Alert – Skip down to last paragraph to avoid spoilers and read recommendation)

Pitcairn’s Island is the story of the Bounty mutineers along with some women and men from Tahiti establishing a colony on a small, secluded and almost unknown island in the South Pacific in order to escape from the British Navy that would be searching for them over the mutiny.  This is a very strange story of how these Englishmen took what was potentially a tropical paradise and turned it into a private hell.  All of the human foibles are on display.  Greed, sloth, lust, intolerance, drunkenness and wrath play a role in destroying the colony.  By the end of the story only the women and children remain except for one mutineer who assumed the role of father figure for the children.

The story is an exciting one full of conflict and human tragedy.  And the pace of the story is much more engaging than Men Against the Sea.  But at points the dialog does seem to be a little stilted.  But this book is much more readable than the previous story.

 

Final Comments

“Men Against the Sea” and “Pitcairn’s Island” aren’t as engaging or have plots that are as well rounded as “Mutiny on the Bounty.”  But I would guess that nine out of ten readers of Mutiny will at least try to read these later stories.  Personally, neither of these later stories was as satisfying as Mutiny but I recommend that anyone who read Mutiny on the Bounty should at least give them a try.

The Four Feathers (1939) – A Classic Movie Review

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This 1939 British version of the story stars John Clements as Harry Faversham a young Englishman whose family has a centuries old tradition of military service but who himself fears the reality of war.  He is engaged to Ethne Burroughs daughter of retired General Burroughs and sister to Peter Burroughs his best friend and comrade in the Royal North Surrey Regiment of the British Army.  Ralph Richardson plays Captain John Durrance, Faversham’s rival for Ethne’s love and the main cast is rounded out by Jack Allen as Lieutenant Willoughby.

As the marriage approaches the British Army is about to send an expedition from Egypt to Sudan to reconquer Khartoum ten years after the Mahdi had captured it from General Gordon.  The Royal North Surrey Regiment is called up for service but Faversham resigns his commission to avoid fighting.  His three friends send him a package that consists of a box with three white feathers attached to cards with each of their names.  When he arrives at Ethne’s home her father will not even speak to him and because of Ethne’s sorrowful reaction to his actions he takes a white feather from her fan and tells her he will add it as her contribution to his collection of white feathers.

Now feeling himself to be the coward that his friends have declared him he visits his father’s old friend Dr Sutton and works through his feelings with this mentor and decides that he must restore his honor by going to Sudan and proving himself.  But of course, he’s no longer in the British Army so he goes to Egypt and recruits the help of an Egyptian friend of Dr. Sutton who disguises him as a native.  But to hide his lack of knowledge of Arabic he is branded on the forehead to appear as one of the mute Sangali tribe.  In this guise he travels to Sudan and joins the work gang that is helping to transport the British Army under Kitchener to Khartoum.  And he is just in time to save Captain John Durrance from death when his company is surrounded by the Mahdi’s army during a diversionary action that the British planned to allow the bulk of their army to escape a battle at the enemy’s stronghold.

Durrance has suffered a heat stroke and is now blind.  When his position is being overrun Faversham is able to save his life although both of them are wounded and left for dead by the Mahdi’s men.  Burroughs and Willoughby are captured and taken back to Khartoum for imprisonment or worse.

Faversham continues the impersonation of a mute while he transports Durrance across the desert back to the British territory and medical help.  Before escaping from the British Faversham manages to place the feather that Durrance gave him back in Durrance’s wallet.

Now Faversham travels to Khartoum and manages to give his two friends a file that they can use to saw through their shackles in prison.  He ends up being discovered as an Englishman by the Mahdi and tortured for information.  He is thrown into the prison with his friends.  He reveals himself to his friends and tells them his plan.  If the Mahdi is beaten by Kitchener in battle, he is likely to retreat back to Khartoum and kill his prisoners before the British can take the town and free them.  So, Faversham’s plan is to use the file to free as many of the prisoners as possible and wait until the Mahdi’s army sets out for battle then overwhelm the few guards and take possession of the arsenal building that will provide them with the weapons and walls they need to survive until the British take the town.

Things work as Faversham expects until the British army follows the Mahdi’s army and begins bombarding the arsenal.  To save themselves from being blown to bits they manage to find an old British flag from the former regime and raise it over the arsenal just in time to save their lives.

Returning to England with his comrades Faversham finds himself forgiven his former cowardice and indeed a hero.  But most importantly his fiancée revives her plan to marry him.

The movie has several things going for it.  It was filmed on location in the places depicted in the story.  The cinematography is impressive and the production was able to enlist British soldiers in period costumes to film the battle scenes.  Large forces of men on camels and horses also adds drama to these scenes.  The story is highly improbable but the action is enjoyable and the characters are interesting.  One standout is C. Aubrey Smith’s portrayal of General Burroughs.  In several scenes Burrough’s laments the present-day army’s lack of toughness.  In each case he uses food found on a banquet table to reenact the Crimean War, Battle of Balaclava.  By the end of the movie, to the relief of the audience, Faversham is in a position to finally shut up his prospective father-in-law by correcting his mistaken narrative of how Burroughs’s actually began the famous charge.  I like these old tales from the British Empire.  They are filled with adventure and the ethos of the time.  Highly recommended for fans of high adventure.

The Films of Alfred Hitchcock – Part 11 – The Lady Vanishes (1938) – An OCF Classic Movie Review

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This was Alfred Hitchcock’s last movie filmed in England before leaving for Hollywood.  The plot involves a train somewhere in central Europe with some British citizens on their way back home.  An old English lady named Miss Froy is involved in some kind of espionage.  She befriends a young woman named Iris Henderson who is going home to marry a rich man she doesn’t love.  When Miss Froy disappears from the train and all the other passengers and crew swear she was never there Iris recruits Gilbert Redman to help her solve the mystery.  There are comic touches that involve a pair of friends named Caldicott and Charters who are obsessed with reaching England in time to watch the National Cricket match.  In fact, the comic bit they did in this film was so popular that the actors, Naunton Wayne and Basil Radford respectively, reprised their characters in a number of films for many years afterward.

Hitchcock builds up the characters with plenty of background and personal details in scenes that take place before the train ride and once the young couple begin delving into the mystery it is obvious that a criminal conspiracy is taking place to kidnap Miss Froy, although no apparent reason exists.  On the train is a noted brain surgeon and he tries to convince Iris that a serious blow to the head that she sustained just before getting on the train is the source of her delusion about the missing Miss Froy.  Later on, we find out that he is the ringleader of the plot.

Finally, Miss Froy is freed and she reveals to Iris and Gilbert that she is a British spy and she must flee the train and go cross country to return to England.  But first she teaches Gilbert a musical phrase that is code for some top-secret information.  The adventure comes to a climax in a gun battle between the storm trooper and the English passengers as they attempt to take control of the train and flee over a border to a non-hostile country.  After several casualties they escape and return to safety.  When they reach England, Iris decides to forsake her rich loveless bridegroom and go off with Gilbert.  But first they head for the British foreign office to give them the musical code message.  But just as they reach the office Gilbert realizes he has forgotten the music.  But then hears the tune being played on a piano in the room they are about to enter and they see Miss Froy playing the tune.

This all sounds like a ridiculous jumble and in a way it is.  There are all kinds of odd things going on as there always are in a Hitchcock film.  A homicidal magician complete with a booth for making women disappear.  A mysterious burn victim with bandages that cover her face who is brought on the train well after Miss Froy disappeared.  There’s a deaf-mute nun in high heels.  A platoon of storm troopers that I guess are supposed to be German.  An avalanche, a murdered singer, clog dancers, a comedic Italian innkeeper who promises things he can’t deliver in four or five languages and scantily clad women.

But it’s actually highly entertaining.  All the little details of the story are well done and diverting.  The various characters are given enough development and even the villains are well rounded characters.  I thoroughly enjoy this movie and highly recommend it.

Shakespeare in Film – Part 12 – The Merchant of Venice – Olivier’s 1973 Version

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The Merchant of Venice is an odd play.  The romance plot line with Portia and Bassanio is decidedly comic but the Shylock story is a revenge story that verges on the bizarre.  Olivier is Shylock, a Jewish moneylender in Venice.  The story revolves around Antonio, a prosperous merchant whose friend Bassanio is in love with the rich heiress Portia.  Bassanio begs a loan of 3,000 ducats to woo Portia as a nobleman.  Shylock gives Bassanio the money but because of his hatred of Antonio he demands that if the money is not repaid on time Shylock will remove a pound of flesh from Antonio’s breast closest to his heart.  Antonio treats this lightly because he has many merchant ships in route for home that should enrich him many times the 3,000 ducats in cargo value.  But when all his ships are reported lost then the default clause is no longer a joke but a promise of torture and death.

Another subplot has Shylock’s daughter run away from her father and elope with one of Bassanio’s friends, Lorenzo and also convert to Christianity.  It is this insult from his daughter that unhinges Shylock and turns him into a merciless fiend dead set on exacting his pound of flesh.  Luckily for Antonio, Bassanio’s courtship of Portia is successful and when she hears of Antonio’s peril, she tells her new husband that all the funds needed will be available to pay off Antonio’s debt.  But Shylock refuses even thrice the delinquent 3,000 ducats, standing on his contract to extract the pound of flesh he is owed.  Finally, a trial before the Duke of Venice is scheduled.  Portia comes disguised as a learned doctor of the law from Padua with a recommendation to the Duke from Bellario, her lawyer cousin in Padua.  Acting as the judge Portia concedes that the letter of the law allows Shylock to demand his pound of flesh but in a stirring speech she expounds on the “quality of mercy.”  But none of this phases Shylock in the least.  Over and over he refuses the 9,000 ducats and demands his barbaric payment.  Then Portia plays her trump card.  She declares that Shylock can have his pound of flesh.  But not a hair’s weight more or less and without spilling a drop of Antonio’s blood lest Shylock be put to death for it.  Knowing that he is beaten Shylock then asks for the 9,000 ducats but Portia tells him he has already refused that.  Then he asks for his principal back and is equally denied that.  And finally, he is informed that his attempt on the life of a Venetian citizen forfeits his own life and all his fortune.  By an act of mercy, the Duke spares his life and half his fortune with the proviso that Shylock must convert to Christianity and leave his remaining fortune to his daughter and her husband upon Shylock’s death.

After this happy ending there is the usual sexual politics with the disguised Portia demanding as payment from Bassanio for her legal help a ring that she had given him earlier as herself and which he had sworn never to remove.  And when back in her normal appearance she demands to see Bassanio’s ring.  He sadly admits to having given it away.  She produces it and teases him with having spent the night with the doctor of law.  And then there’s a tiff about it that is quickly straightened out when she reveals that she was the doctor of law.  And hilarity ensues.

This is a good production.  It is a good cast and the production values are equally good.  The scenery and costumes are of a Victorian England.  I don’t think this was a particularly good idea but it certainly didn’t harm the story much.  Joan Plowright looked a little too old to be Portia but her acting was everything you’d want for the part.  Jeremy Brett was a good Bassanio and the rest of the supporting cast was very able.  Olivier was very good.  But I was a little let down.  Shylock just isn’t that great a character.  He’s certainly not Hamlet or even Henry V.  He’s doesn’t even have the great villainous lines like Richard III.  A lot of his dialog is odd and melodramatic.  So, for once Olivier is not the main reason for watching this recording.

Plowright has the shining moment.  She gets to recite the quality of mercy speech.  And that alone is worth watching this play.  It is one of the best things Shakespeare ever wrote.  It’s uplifting even for an old deplorable like me.  It almost makes me want to show mercy to my political enemies.  Almost, but not quite.  My conclusion, this is a good version of The Merchant of Venice.

I’ll end with the text of that wonderful speech.

 

The quality of mercy is not strain’d,

It droppeth as the gentle rain from heaven

Upon the place beneath: it is twice blest;

It blesseth him that gives and him that takes:

‘Tis mightiest in the mightiest: it becomes

The throned monarch better than his crown;

His sceptre shows the force of temporal power,

The attribute to awe and majesty,

Wherein doth sit the dread and fear of kings;

But mercy is above this sceptred sway;

It is enthroned in the hearts of kings,

It is an attribute to God himself;

And earthly power doth then show likest God’s

When mercy seasons justice.

Shakespeare in Film – Part 11 – King Lear – Olivier’s 1983 Version

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King Lear is a very strange play to watch.  All of the virtuous characters are banished, disowned or fugitives from justice while all the rest of the characters that aren’t out and out villains are seriously flawed and unable to distinguish good from evil.  There is a continuous downward spiral as the evil characters consolidate their positions and everyone else including the hapless Lear ricochet from one disaster to the next.

I first saw this play back in the 1970s as a Shakespeare in the Park presentation in Central Park with James Earl Jones as Lear.  Some extremely timely thunderstorm activity by Mother Nature made for an exciting performance and I have enjoyed the play since.  But I will admit that the Storm scene is extremely odd to sit through.  Even the actors seem to be slightly at a loss as to how they are supposed to relate to each other during this weird act.

The 1983 version of King Lear starring Laurence Olivier is a British Television production and it is done on a television sound stage and it has the look of a sound stage made to look like a theater stage.  That is not to say that it is badly filmed but rather that it does not have the production values that the budget of a major Hollywood movie can allow.

The cast in addition to Olivier includes some well-known faces.  Lear’s Fool is played by John Hurt.  Leo McKern, who American audiences might know from the British import television series “Rumpole of the Bailey” plays Gloucester.  And if you’re old enough to remember the 1960s spy series “The Avengers” then you would remember Diana Rigg who here plays one of Lear’s evil daughters (Regan).  The rest of the cast is unknown to me but overall, the acting is reasonably good.

In my opinion, you watch this version for Olivier and to a lesser degree John Hurt.  They provide the stand out performances that elevate this above an average television version.  It is sad to see how frail Olivier is here.  He was 75 years old at the time and in extremely poor health.  This was his last attempt at Shakespeare.  But he gives the lines their due.  He allows Lear to make sense to an audience struggling with this bizarre set of characters and circumstances.  He was still a great actor even here at the end of his life.  That is not to say that the performance was perfect, although I believe it had more to do with technical problems of a television production.  During the Storm scene Lear’s voice is difficult to understand over the wind and rain noises.  If the video has captioning then this will not be as big a problem.  Also, some of the staging is a little odd to me.  The torches that were used during some of the scenes look very odd and I assume this was a limitation of the television cameras used to capture the action.

Overall, this is not a masterpiece like Olivier’s Hamlet or even a slick commercial production like Henry V that had a robust budget and a great supporting cast.  This is a modest production with a mixture of greater and lesser talent.  But it is your only chance to see Laurence Olivier as King Lear.  If that interests you then you should see it if it is available to you from whatever source you obtain your movies.

30MAY2020 – Quote of the Day

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The Charge of the Light Brigade

 

Half a league, half a league,

Half a league onward,

All in the valley of Death

Rode the six hundred.

“Forward the Light Brigade!

Charge for the guns!” he said:

Into the valley of Death

Rode the six hundred.

 

“Forward, the Light Brigade!”

Was there a man dismay’d?

Not tho’ the soldier knew

Some one had blunder’d:

Theirs not to make reply,

Theirs not to reason why,

Theirs but to do and die:

Into the valley of Death

Rode the six hundred.

 

Cannon to right of them,

Cannon to left of them,

Cannon in front of them

Volley’d and thunder’d;

Storm’d at with shot and shell,

Boldly they rode and well,

Into the jaws of Death,

Into the mouth of Hell

Rode the six hundred.

 

Flash’d all their sabres bare,

Flash’d as they turn’d in air,

Sabring the gunners there,

Charging an army, while

All the world wonder’d:

Plunged in the battery-smoke

Right thro’ the line they broke;

Cossack and Russian

Reel’d from the sabre-stroke

Shatter’d and sunder’d.

Then they rode back, but not

Not the six hundred.

 

Cannon to right of them,

Cannon to left of them,

Cannon behind them

Volley’d and thunder’d;

Storm’d at with shot and shell,

While horse and hero fell,

They that had fought so well

Came thro’ the jaws of Death

Back from the mouth of Hell,

All that was left of them

Left of six hundred.

 

When can their glory fade?

O the wild charge they made!

All the world wonder’d.

Honour the charge they made!

Honour the Light Brigade

Noble six hundred!

 

Alfred Lord Tennyson

Shakespeare in Film – Part 10 – Richard III – Olivier’s 1955 Version

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This is not one of my favorite plays.  Part of that is my allegiance to the House of Lancaster.  Henry IV and Henry V seemed like my kind of guys so I was sorry to see the House of York pry back the crown from their side in Henry VI Parts I, II & III.  But more than that, it’s the spectacle of a monster like Richard crushing the people around him, his family in fact, without any compunction or even much difficulty.  His brothers Edward and George are oblivious to his treachery even as it is being accomplished.  His other enemies are more aware but equally powerless to save themselves from his malice.  He moves from outrage to outrage upping the ante at each stage.  Finally, he assigns a merciless assassin to smother his nine and twelve-year-old nephews with their own pillow to ensure that they never have the chance to revenge themselves on Richard for his usurpation of their father’s crown.  And then there’s the matter of Lady Anne.  She is the widow of the Lancaster heir to the throne, Henry VI’s son Edward.  And it was Richard who killed Edward.  Having Anne agree to wed Richard is the final outrage that just makes the play a bridge too far for me.  I mean, come on! Richard is a hunchbacked, withered armed, monster.  Anne spits in his face and calls him a fiend and then willingly marries him.  This is a tough play to understand.

Anyway, Olivier plays Richard to the hilt.  He is actually comical at certain points in his jocular, two-faced portrayal of the monster.  Olivier has surrounded himself with an all-star cast of Shakespearean professionals.  Cedric Hardwicke is his brother King Edward IV, John Gielgud is his brother George, Duke of Clarence, Ralph Richardson is Duke of Buckingham and Claire Bloom is Lady Anne.  The acting is good.  It’s just that I can’t stomach the plot.  To see evil just dance along while well meaning people are led to the slaughter irks me.  The ending should be consolation enough.  Richard gets his comeuppance and pays the price.  But the play rubs me the wrong way.  It’s the way that good seems to be powerless to resist evil.  It’s almost as if it gives up without a fight.  Oh well.

So, as you can tell I don’t love this play but I recognize that it’s really about me and my way of looking at the world.  I acknowledge that this is a well-acted version of the play and the production is full of nice touches.  The chanting monks, the cinematography of the battle scene, the excellent set design, the skill of the cast.  Olivier’s elocution and mastery of the part demands it be seen.  He gives us a consummate and thoroughgoing villain.  All of it recommends this play to the Shakespeare devotee.  So, I do recommend this version.  It is well done and deserves high praise.

But I’d rather watch Hamlet.  I’d rather watch Henry V.  Richard III rankles me no little bit.