Tag: Shakespeare in Film

Falstaff (Chimes at Midnight) (1966) – A Movie Review

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I’ve been looking for a good print of this movie for a few years.  Orson Welles made this in his later years when money for his productions was very hard to find.  So, he allied himself with a Spanish production company.  The movie didn’t make any money and the prints of the film weren’t preserved well.  But at last, I was able to see a good copy.

The story is a pasting together of sections of three of Shakespeare’s plays (Henry IV – Part 1, Henry IV Part 2 and Henry V) that deal with Prince Hal and Falstaff.  Welles was able to assemble a cast that did justice to the work.  Welles plays Falstaff and was born for the part.  John Gielgud is King Henry IV and Jeanne Moreau plays Doll Tearsheet.  Ralph Richardson performs narration.  The rest of the cast I’m not familiar with but I will say they acquit themselves admirably especially Keith Baxter, the actor playing Prince Hal.

This is Shakespeare, not modern cinema so not all audiences will enjoy it.  But for those who have a liking for the Bard this motion picture will reward your time.  It’s a very human tale of a young man (Prince Hal) rebelling against his place in the world.  And at the same time, it is the story of a larger-than-life character, Falstaff.  A man that combines wit, braggadocio, cowardice, humor, lust for life and villainy in almost equal proportions.

Technically there are some aspects of the film that aren’t up to modern standards.  The audio track isn’t perfect.  But for the most part it’s an engaging production.  Even the battle scene which was made on a very small budget is a cinematic success and enhances the film.

I need to buy a good copy of this film.  I can see watching this one about every six months or so.  Recommended for the lover of Shakespeare.

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.

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.

Shakespeare in Film – Part 9 – Henry V – Branagh’s 1989 Version

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Sunday, I wrote the review of Olivier’s Henry V.  I watched Branagh’s version that night.  I watched a while ago but I wanted to have it fresh in my mind especially because I would be contrasting it to Olivier’s film.

When Branagh’s movie came out in 1989 it made him a star.  He was a young dynamic character and the world wanted to believe in heroes again.  He was married at the time to Emma Thompson and she played Katherine to his Henry.  They were seen as an exciting couple in Hollywood circles and there was great interest in their films together.  Putting all that aside, people were ready to take a fresh look at Shakespeare.  Branagh adapted the play for the screen and directed himself in the lead.  Branagh was young enough and active enough to make King Harry believable.  The movie was a critical success.

Interestingly, Branagh’s Henry V left in some of the smaller incidents that Olivier omitted.  The three conspirators who planned to assassinate Henry on behalf of the French are duly exposed and condemned.  The hanging of Bardolph, one of Prince Harry’s former companions is a stark reminder that King Henry is a changed man.

But the major thrust of the film of course runs in the same vein as Olivier’s.  And yet there are clear differences in tone and emphasis.  Despite the theme of war Olivier’s play is the more light hearted and optimistic of the two by far.  A good point of comparison is the St Crispin’s Day speech.  When Olivier gives the speech, he exudes confidence and a controlled enthusiasm.  But when Branagh speaks he impresses on the audience the sense of passion and energy he feels.  It’s a rush of adrenaline that he captures in words.

And the action of the play mirrors this same difference.  Olivier’s cinema is typical of what the 1940s would do to portray the late middle ages.  It reminds you of how Hollywood would give us Robin Hood or Ivanhoe.  It was a sunlit world of grassy fields and picturesque castles with banners flapping in the breeze high above the fields.  Branagh gives us explosions, fire, battles in the dead of night and lots and lots of mud.  Mud on the ground, mud on the soldiers and mud on the King.  And he keeps some of the lines on the war that Olivier left out.  When the English besiege the city of Harfleur, Henry harangues the town elders with the horrors that resisting the besiegers would entail if they failed to surrender in advance.  He mentions rape, plunder and the vicious destruction of human life from the youngest infant to the oldest inhabitants.  So, we can see that Branagh has made the more accurate version of the play.  He’s left all the warts in plain sight.

Now in addition to the grittier nature of Branagh’s production it should be said that his handling of the romance between Henry and Katherine is also more naturalistic.  Branagh has an earthier, more openly comical approach to Henry attempting to woo Katherine in terribly halting French.  Olivier’s approach is calmer and more restrained.  So, all in all let’s call Olivier’s a more formal and austere approach to the story and Branagh’s a more naturalistic and emotional version.

How do they compare?  In my opinion they are both excellent films.  And they have different strengths.  I watch the Olivier version when I want to enjoy Olivier’s language.  He is the gold standard, in my book, for what Shakespeare’s dialog should sound like.  No one else makes the text sound real the way he does.

But if I want to see the story of the war, I will watch Branagh’s version.  Branagh and his excellent cast bring the war to life.  By the end of the battle of Agincourt you can feel the exhaustion that the English feel as they struggle to bury their dead.  Even the miraculous victory they’ve won is almost beyond their strength to grasp.  Branagh has done a very fine job of making a Henry V that is faithful to the text and conveys the reality of a King going to war in the Hundred Years War.

Shakespeare in Film – Part 8 – Henry V – Olivier’s 1944 Version

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Another Olivier film in which he starred and directed.  He also was one of the producers and had a part in the screenplay.  Shakespeare’s plot revolves around young King Henry (or Harry to his friends) defending his claim to the throne of France.  His Norman ancestors shared lineage with the French kings and here Henry is demanding from the French king that he be named his successor.  But the Dauphin (the king’s son and heir) answers for his father by sending an insulting “gift” to substitute for Henry’s claim.  He sends him a box of tennis balls.  That starts the war.

The action is divided between Henry’s prosecution of the war, scenes among the French leaders and several personal vignettes.  One set of vignettes involve Henry’s former companions; Ancient Pistol, Bardolph, Nim, Mistress Quickly and Sir John Falstaff.  In his youth Henry was an irresponsible wastrel that associated with these disreputable characters.  But these knaves were very popular from two earlier plays, Henry IV Parts 1 & 2, and here they are brought back for a final curtain call.  Their actions are for comic relief and as a contrast to the heroics of Henry and his warriors.  Then there are scenes with the three captains Fluellen, MacMorris, and Jamy from respectively Wales, Ireland, and Scotland.  These three men speak in heavily accented dialects reflecting their ethnicities.  They are also provided for comic relief with mockery of MacMorris being the primary focus.  And finally, there is the scene of Princess Katherine and her Duenna talking about King Harry in a scene where the Princess attempts to learn a few words of English seemingly in anticipation of meeting Henry.

The story’s climax is the momentous battle of Agincourt where according to Shakespeare’s reckoning an army of 12,000 Englishmen, mostly infantry and archers, defeated an army of 60,000 Frenchmen that included a large contingent of heavy cavalry.  After the English victory we have a scene where the French King agrees to make Henry his heir in exchange for Henry’s marriage to Princess Katherine.  And this is completed with Henry winning Katherine’s heart in a scene that is meant to signify his passionate and determined nature.

So how does Olivier handle this complicated and fragmented plot?  After all, some scenes take place in a palace, some in an inn but others are in the middle of a pitched battle and others in a bivouac.  In Shakespeare’s day, in his little circular theater, interior scene changes were hard enough but battle scenes could only be handled by suspension of disbelief and by heralds arriving to announce distant action.  Olivier pays homage to this by starting the play in the Globe Theater.  We see the actors behind the scene dressing and preparing to enter the stage.  Even Olivier as Henry is shown first as an actor about to enter his first scene.  The following scene at the inn between Ancient Pistol and company are also handled as scenes in the theater.

But once the action moves afield, we get exterior shots of the English and French countryside (actually Irish, this was shot right before D-Day and England was on a war footing while neutral Ireland was not).  And it’s outdoors that Olivier gets to give the rousing St. Crispin’s Day speech.  And the big battle includes an actual cavalry charge.  After the battle they use a strange combination of exterior shots with painted backgrounds that are sort of picturesque in conjuring up a theater.  And a theater is where the finale happens, right back in the Globe Theater where the Narrator closes the curtain on Henry and Katherine and reads the epilogue.

So, how did I like this mess?  Well, actually, quite a lot.  I can’t help but admire the way Olivier takes the conventions of a Shakespeare play like the exits and entrances of the cast and makes them part of an internal joke by showing the cast as actors going onto a stage.  He even takes the speech that explains his claim to the throne and makes it a comic scene with bishops and clergymen dropping and finally throwing ancient manuscripts at each other in their confusion at trying to prove Henry is the legitimate King of France.  To a modern audience the base and crude friends of ancient Pistol seem strange and exotic but Olivier has his Globe audience filled with Pistol’s spiritual kinsmen who cheer and catcall in approval of their low antics.

By modern standards the battle scenes are somewhat theatrical.  After you’ve seen elves and men mowing down orcs in one of the Lord of the Rings movies the knights on horseback can’t be very convincing.  And Olivier is no Errol Flynn swashbuckling with a sword.  But what Olivier has is the ability to take Shakespeare’s lines and turn them into dramatic speech.  I think the fact that Olivier had done Shakespeare on the stage with the best English actors of his generation was what gave him the ability to give the words the inflection and cadence that turns them from a museum piece into a dramatic scene.  I’ve seen the St. Crispin’s Day speech done by Branagh and Olivier.  Branagh gives it all the intensity and emotion he can.  Olivier is calmer and quieter but he infuses his speech with the storyteller’s charm of what it will be like to look back at a victory from the vantage point of many years.  Maybe my admiration of his skills is idiosyncratic to me.  But even though he is an actor from an earlier time I do not think our modern method actors can compare.  They always reach for emotional affect and seem to overdo it.

Henry V is a special play in Shakespeare’s list.  Everything but the epilogue is a reflection of the will and fortune of a fortunate king.  All his ventures succeed and his reign is fortunate.  Only the epilogue reminds us that the War of the Roses is yet to revive in his son’s time and erase all his glories and end the English sovereignty on the mainland.  But the play gives the audience a chance to hear of victory as a contrast to the tragedies that will follow.  Olivier made his production as a morale boost for the English who were about to join the Americans in the D-Day invasion of France.  The story of an earlier invasion of France by Henry was supposed to provide hope for the nation worn out by years of bombing raids and setbacks in the war.  And so, Olivier omitted the defeats from the epilogue.  Wise decision.

This version is dated in terms of cinematography and stylized in some aspects of the acting but I recommend it to those who enjoy Shakespeare’s plays.

 

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Shakespeare in Film – Part 7 – Hamlet – Branagh’s 1996 Version

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I saw this in the theater when it came out.  There are a few things that should be said about it to start with.  It’s fully four hours long!  It has everyone in Hollywood (and outside of it) in the cast.  Richard Attenborough, Brian Blessed, Julie Christie, Billy Crystal, Judi Dench, Gérard Depardieu, John Gielgud, Charlton Heston, Derek Jacobi, Jack Lemmon, Kate Winslet and so help me even Robin Williams.  And the cinematography is full of pomp and circumstance and beautiful settings.  But it is unwatchable.

Branagh runs around doing his crazy act and shouting out his lines at a dizzying rate but the whole thing is annoying and after even a half hour becomes too tedious to endure.  Some of the performances I did enjoy.  Richard Briers as Polonius I thought was good.  I liked Derek Jacobi as Claudius.  Jack Lemmon as one of the watchmen I found unconvincing.

For a true devotee of Shakespeare who is determined to watch it, I suggest watching it in a scene by scene fashion.  Probably twenty or thirty minutes is the sub-lethal dose.  So taking it in eight to twelve bite sized chunks you could get through without losing your ability to appreciate the lines.

It’s a pity.  Branagh was given a budget and an array of talent that is impressive.  And a lot of the visual presentation is beautiful.  But his vision for the title role falls far short of even such popular versions as Franco Zeffirelli’s 1990 version with Mel Gibson.

So let me not go on beating it up.  Let me just say I cannot recommend this version for an enjoyable experience of the play.  Watch Olivier or Gibson.

Shakespeare in Film – Part 5 – Hamlet – Olivier’s 1948 Version

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Olivier won the Academy Award for Best Picture and directed himself to the Best Actor award too.  That is still a unique circumstance.  Despite this acclaim purists condemned the excisions that Olivier made to the plot eliminating the sub-plots involving Rosencrantz, Guildenstern, and Fortinbras.  This shaved an hour and half from its length and concentrates the play into a personality study.

Despite Olivier’s modifications it remains a very formal telling of the tale from the aspect of the acting.  Olivier spent a number of years in London’s Old Vic Theatre Company performing Shakespeare’s plays with the greatest living British actors of his generation.  Comparing his portrayal with an American version such as Mel Gibson’s excellent 1990 version defines the two schools of acting.  The American method acting version requires the actor to submerge himself into the personality he “discovers” for the character.  He feels the part.  The British actor learns the techniques needed to portray the character and emotions he desires to project to the audience.  Olivier himself once described a circumstance that highlighted this difference.  During the making of the film Marathon Man his co-star Dustin Hoffman tortured himself with various discomforts to help him feel the part of a man exhausted and at the end of his strength.  When Hoffman noticed that Olivier was sitting comfortably in anticipation of his scenes Hoffman asked him how he could get into his part without some physical method.  Olivier was said to have answered, “Dear boy, it’s called acting.”

So, all that said.  I consider this the best version I’ve seen.  The dialog, the acting, the staging, all excel the other two versions I’ve seen.  The story flows and the characters live in front of us in a way that often escapes other performances of Shakespeare’s plays.  Every little phrase and movement works the way it should.  Olivier is a craftsman walking us through his weird world of pain and revenge.  The lines are alive and sound like dialog and not museum exhibits.  They fit perfectly with the action that attends them.  They are poetry and human speech both.

And I actually have no complaints with any of the actors.  All were skilled and none fell short that I can remember.  That is not a small thing.

And despite the formal theater there are naturalistic touches that work well.  My favorite is the gravedigger.  When Hamlet comes upon him he fits completely with what you would expect of a son of the soil.  He is contrary and defers not at all to the high-born questioning of his Lord and better.  He is witty and authoritative in his knowledge of graveyard ecology.  Another technical advantage of this version is the dagger and rapier duel in the final scene.  Olivier and Terence Morgan who plays Laertes do an impressive job of simulating a sword fight.  No special effects either.

My advice to anyone coming to Hamlet for the first time, watch this version first.  Measure the other ones by it.  It will actually make the others easier to understand and thereby improve them.  Olivier is truly a master at his work.

Shakespeare in Film – Part 4 – Hamlet – Introduction

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Shakespeare’s strongest plays are the tragedies.  The comedies have their merits and the pure histories have some very engaging characters like Falstaff and Prince Hal.  But the heavy hitters are Macbeth, King Lear, Richard III, Othello, Julius Caesar, Romeo and Juliet and most especially Hamlet.  Even the most ardent fan of the Bard will have scenes and characters that he dislikes even in his favorite play.  In fact, some plays are favorites only because of some especially powerful scene or character.  They are valued despite plot weaknesses or sections of dialogue or characters that disappoint.  And Hamlet is no exception.  I am sure every fan of the play dislikes some aspect of it.  But I will say that overall, the plot and the dialog exceed the other plays in how they engage the audience.  The characters are drawn in a lifelike way.  Even the villain is real.  And in the hands of a skilled cast, the play is fascinating to watch.

The character of Hamlet is famously defined by his indecision.  He has been commanded by his father’s ghost to exact vengeance against his murderer.  What could be more absolute than that?  And yet he vacillates throughout the play and is only goaded into action by his own assassination.  All this is obviously true but the action of the play shows us that this indecision is mostly due to his virtues and not his faults.  He is a noble, loyal, virtuous, intellectual, pious prince.  And all these instincts and talents work against his need to commit justifiable regicide.  His tender love for his mother is an almost insurmountable obstacle to exacting vengeance on her villainous husband.  His sense of justice prevents him from striking down his enemy when he believes that the timing, coming as the murderer is in prayer, would allow his victim’s soul to gain heaven instead of casting him down into hell.  His intellect even forbids him from escaping his problems through suicide.  He reasons through the consequences and arrives at the conclusion that possibly the afterlife might be filled with greater torment still.  He is a man haunted by the wreckage of his family, his life and even his sanity.  Think of what he has endured.  He has spoken with his father’s ghost, a thing more harrowing than any mortal occurrence.  His mother’s husband is his uncle, his father’s murderer and his king all at the same time and he must face him day in and out while his mother displays passionate affection for her husband’s murderer.  In order to dissemble his intentions, he plays at being mad and in doing so he loses the woman he loves.  There is literally no path available to him that doesn’t involve unthinkable crimes and madness.  I suppose indecision might be excused under such circumstances.

But plot aside, it is the language of the play that engages me.  Hamlet is filled with phrases and thoughts that we meet everywhere in cultured discourse:

  • “Brevity is the soul of wit.”
  • “Though this be madness, yet there is method in’t.”
  • “Sweets to the sweet.”
  • “The lady doth protest too much, methinks.”
  • “Something is rotten in the state of Denmark.”
  • “Get thee to a nunnery.”
  • “The Play’s the Thing, wherein I’ll catch the conscience of the King.”
  • “Neither a borrower nor a lender be, for loan oft loses both itself and friend, and borrowing dulls the edge of husbandry.”
  • “There are more things in Heaven and Earth, Horatio, than are dreamt of in your philosophy.”
  • “This above all: to thine own self be true, and it must follow, as the night the day, thou canst not then be false to any man.”
  • “What a piece of work is a man! How noble in reason! how infinite in faculty! in form, in moving, how express and admirable! In action how like an angel! In apprehension how like a god! The beauty of the world! The paragon of animals! And yet, to me, what is this quintessence of dust?”
  • “To be, or not to be: that is the question. Whether ’tis nobler in the mind to suffer the slings and arrows of outrageous fortune, or to take arms against a sea of troubles, and by opposing end them? To die: to sleep; no more; and by a sleep to say we end the heart-ache and the thousand natural shocks that flesh is heir to, ’tis a consummation devoutly to be wish’d. To die, to sleep; to sleep: perchance to dream: ay, there’s the rub; for in that sleep of death what dreams may come when we have shuffled off this mortal coil, must give us pause: there’s the respect that makes calamity of so long life; for who would bear the whips and scorns of time, the oppressor’s wrong, the proud man’s contumely, the pangs of despised love, the law’s delay, the insolence of office and the spurns that patient merit of the unworthy takes, when he himself might his quietus make with a bare bodkin? Who would fardels bear, to grunt and sweat under a weary life, but that the dread of something after death, the undiscover’d country from whose bourn no traveller returns, puzzles the will and makes us rather bear those ills we have than fly to others that we know not of?  Thus conscience does make cowards of us all; and thus the native hue of resolution is sicklied o’er with the pale cast of thought, and enterprises of great pith and moment with this regard their currents turn awry, and lose the name of action.”

There is constant word play as Hamlet pretends to be mad and yet makes cunning and cutting mockery of his foes.  All in all, it is an enjoyable two and a half hours (in the shorter versions) of highbrow art that yet could appeal to anyone if he were in the right frame of mind.  I have seen three film versions of the play along with a stage setting.  I’ll go into my particular opinions of those in later installments of this post.

Shakespeare in Film – Part 3 – Much Ado About Nothing (1993)

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Back in 1989 Kenneth Branagh made a splash in the title role of Henry V and because of it became a movie star and was allowed to produce several of Shakespeare’s plays paid for by major studios!  One of the fruits of this strange marriage of Hollywood and Branagh was “Much Ado About Nothing,” one of the comedies.  The cast combines English stage and screen actors with American movie stars such as Denzel Washington, Michael Keaton, Kate Beckinsale and Keanu Reeves.  And because at the time she was Mrs. Branagh, Emma Thompson co-starred.

Up front I will say that this film is a bizarre mix of good, bad, indifferent and unbearable acting.  The subplot that involves the thwarting of a marriage by a wrongful accusation against the bride is so emotionally overwrought and pathetic that I am tempted to fast forward through it.  On the other hand, the antagonistic love/hate relationship between Branagh and Thompson’s characters is at times very amusing.  But the stand out part in the play is Michael Keaton as the chief night constable Dogberry.  His bizarre appearance and mannerisms are very funny.  His malapropisms and nonsensical instructions to his men sound like they come from someone hallucinating.  My favorite exchange occurs when Dogberry tries to explain to the lord of the castle what he has discovered during his night watch.  When he speaks at length without making any sense the lord tells Dogberry that he is tedious.  Dogberry mistakes this for a compliment and promises that if he himself were as rich as a king he would willingly bestow all his tediousness on the lord.

Aside from the young love interests the worst acting of the play is provided by Keanu Reeves.  He plays the villain of the story Don John.  Never before or since have Shakespeare’s words been spoken so woodenly and so bereft of any skill.  Luckily he was able to move on and use this skill where it belonged, in John Wick 2.  Don John’s brother in the movie is Denzel Washington’s Don Pedro.  I must confess I couldn’t see the family resemblance but Don Pedro did acquit himself much more ably Keanu.  He was amusing and amiable.

For fans of the tv show House, the actor who played Wilson on that show, Robert Sean Leonard, plays the young love interest opposite Kate Beckinsale.  His emotional scenes which involved frequent tears are so embarrassing it’s a wonder he ever acted again.

So what can I say about this movie?  Anyone I haven’t scared away with my descriptions should give it a viewing.  It is most definitely a mixed bag.  But for someone who enjoys Shakespeare there are some fine scenes interspersed amongst the awful.  It’s your call.