Richard III (1955 film)
| Richard III | |
|---|---|
 Original Theatrical Poster | |
| Directed by | Laurence Olivier |
| Written by | William Shakespeare (play) Colley Cibber David Garrick |
| Produced by | Laurence Olivier Alexander Korda (uncredited) |
| Starring | Cedric Hardwicke John Gielgud Laurence Olivier Paul Huson Andy Shine Helen Haye Pamela Brown Ralph Richardson Alec Clunes Laurence Naismith Mary Kerridge Clive Morton Dan Cunningham Douglas Wilmer Claire Bloom Stanley Baker |
| Cinematography | Otto Heller |
| Music by | Sir William Walton |
| Distributed by | London Films |
Release dates | 16 April, 1955 (UK) 11 March 1956 (USA) |
Running time | 161 mins. |
| Language | English |
Richard III is a 1955 British film adaptation of William Shakespeare's play Richard III. The film also contains elements of Shakespeare's Henry VI, part 3. It was directed by Laurence Olivier, who also played Richard. Many noted Shakespearean actors of the time star, including a quartet of acting knights. The film depicts Richard plotting and conspiring to grasp the throne from his brother the King. In the process, many are killed and betrayed, with Richard's evil leading to his own downfall. The prologue of the film states that history without its legends would be "a dry matter indeed", thus the film admits that it is not portraying the actual events of the time, but rather the legend.
Of the three Shakespearean films directed by Olivier, Richard III received the least critical praise. It is also the only film of the three not to have been nominated for Best Picture at the Academy Awards, though Olivier's acting performance was nominated. In later years, the film gained popularity and, through a re-release in 1966, broke box office records in many cities.[1] As well, the British Film Institute has called Oliver's rendition of the play "definitive" and that it has done more to popularize Shakespeare than any other single piece of work.
Production
Out of Olivier's three Shakespeare films, Richard III had the longest period of gestation. Olivier had created and been developing his vision of the character Richard since his portrayal for the Old Vic Theatre in 1944. After he had made Shakespeare films popular with Henry V and Hamlet, the choice of his next adaptation was simple. His Richard had been widely praised on stage. For the stage production, Olivier had modeled some of the crookback king's look on a well-known film producer at the time, Jed Harris, whom Oliver called "the most loathsome man I'd ever met".[2] Years later Olivier discovered that Walt Disney had used Harris as his basis for the Big Bad Wolf in the film Three Little Pigs.[3] Alexander Korda, who had given Olivier his initial career on film, provided financial support for the film.[3]
Most of the dialogue was adapted straight from the play; Olivier also drew ideas from alterations made by Colley Cibber and David Garrick. The opening scenes were taken from the final scenes of Shakespeare's Henry VI, Part III, to allow for a suitable set-up to the rest of the film. Some of the key changes include: the seduction of Anne scene being split into two, Queen Margaret being cut entirely from the film and the execution of Clarence becoming heavily abridged.[4] These cuts were made to maintain the pace of the film, and to cut down the running time, as a full Shakespeare performance of the play can run upwards to four hours.
During filming, Olivier's portrait was taken by famed painter Salvador Dali. The resulting painting remained one of Olivier's favourites until he had to sell it to pay for his children's school fees.[3] The production then moved to Spain, to film the battle sequences. During one sequence, Olivier suffered an arrow wound to the shin. Fortunately, it was on the leg Richard was supposed to limp on, allowing the scene to continue. This was the third film helmed by Olivier. Though for most of the film he kept the story in the confines of a filmed play, the Battle of Bosworth Field towards the end abruptly opens up the setting, having been shot in the Spanish countryside.[1] Olivier also made the controversial decision to directly address the audience. This had not often been done before, and was not how the play was meant to be presented. Nevertheless, Olivier made this choice to make the audience feel as though they are a part of his schemes. Gerry O'Hara was Olivier's assistant director, on hand to help due to the fact that Olivier was in many, if not most of the scenes himself.[3]
Cinematography
The cinematography for the film was done by Otto Heller, who had worked on many European films before coming to the UK in the early 40s. Olivier's choice to utilize Technicolor resulted in bright, vibrant colours in respect to the costumes and sets. Some have even commented that the film looks like an oil painting.[5] Korda had suggested to Olivier the use of the CinemaScope technique, but Olivier thought that CinemaScope was nothing more than a gimmick designed to distract the audience from the true quality of the film. Olivier instead chose to use VistaVision.[3] After a row with them concerning Hamlet, Olivier also utilized Technicolor.[3] Filming commenced at Shepperton Studios.
Music
Template:Sound sample box align right Template:Multi-listen start Template:Multi-listen item Template:Multi-listen end Template:Sample box end The score was composed by Sir William Walton, who worked on all of Olivier's films, except for The Prince and the Showgirl. Walton composed a rousing score filled with pomp and circumstance, to add to the feel of pageantry. The music was conducted by Muir Mathieson, who also collaborated on all of Oliver's films. The film's music was also used for a reading of the play on audio cassette featuring John Gielgud.[6] Walton used the main theme throughout the film, especially towards the closing scenes.
Synopsis
...The history of the world, like letters without poetry, flowers without perfume, or thought without imagination, would be a dry matter indeed without its legends, and many of these, though scorned by proof a hundred times, seem worth preserving for their own familiar sakes. The following begins in the latter half of the 15th Century in England, at the end of a long period of strife set about by rival factions for the English crown, known as the Wars of the Roses. The Red Rose being the emblem for The House of Lancaster. The White for The House of York. This White Rose of York was in its final flowering at the beginning of the Story as it inspired William Shakespeare...
— Preamble
King Edward IV of England (Cedric Hardwicke) has been placed on the throne due to the actions of his brother, Richard (Laurence Olivier). After Edward's coronation in the Great Hall, Richard contemplates the throne, before advancing towards the audience and then addressing them, delivering a speech that outlines his physical deformities, such as a shriveled arm, hunched back, uneven legs, effeminate hair, and large nose. He goes on to describe his jealousy over his brother's rise to power in contrast to his lowly position.
He dedicates himself to task and plans to frame his brother, George, Duke of Clarence (John Gielgud), for assassination, and have him sent to the Tower of London. Having confused and deceived the King, Richard proceeds with his plans and Clarence is murdered, drowned in a butt of wine. Richard goes on to woo and seduces the Lady Anne (Claire Bloom) and though she hates him for killing her husband and father, she cannot resist and ends up marrying him.
Richard then orchestrates disorder in the court, fuelling rivalries, and setting the court against the Queen consort, Elizabeth (Mary Kerridge). The King, weakened by exhaustion, appoints his brother, Richard as Lord Protector, and dies. Edward's son, soon to become Edward V (Paul Huson), is met by Richard whilst en route to London. Richard has the young King's entourage arrested and executed, and forces the young King along with his younger brother (Andy Shine), to have a protracted stay at the Tower of London.
With all obstacles now removed, Richard enlists the help of his "cousin Buckingham (Ralph Richardson)" to alter his public image, and to become popular with the people. In doing so, Richard becomes the people's first choice to become the new King. With this new power, Richard has young Edward and the Duke of York killed in the Tower of London.
Buckingham had given his consent for this horrible deed on terms of being given a title and a land grant. On requesting this at Richard's coronation, Buckingham is met with Richard's response: "I'm not in the giving vein today!" Buckingham then fears for his life and, along with others, rebels against Richard's rule. Richard, now fearful due to his dwindling popularity, takes to war, and Richard's Yorkists prepare to battle Henry of Richmond's (Stanley Baker) Lancastarians at Bosworth Field.
Before the battle, Richard is haunted by the ghosts of all those he has killed in his bloody ascent to the throne, and he wakes screaming. Richard composes himself, striding out to plan the battle for his generals, and gives his motivational speech to his forces: "Conscience is but a word that cowards use, devised at first to keep the strong in awe! Conscience avaunt! March on! Join bravely! Let us to it pell mell. If not to heaven, then hand in hand to hell!"
The two forces engage in battle, with the Lancastarians having the upper hand. Lord Stanley (Laurence Naismith), whose loyalties had been questionable for some time, betrays Richard, and allies himself with Henry. Richard sees this and rushes out to fight Henry. However, Richard is knocked off his horse, loses his cherished crown and is soon lost in the battle, searching desperately for Henry. He lets forth his immortal cry:
A horse! A horse! My kingdom for a horse!
Richard then spots the treacherous Lord Stanley, and engages him in one on one combat. Before a victor can emerge, the Lancastarian troops charge Richard, and fatally wound him. Richard convulses in several spasms and offers his sword to the sky before dying. Stanley orders Richard's body to be taken away, and then finds Richard's crown in a thorn bush. He then proceeds to offer it to Henry, leaving the crown of England in safe hands once again.
Cast
Olivier elected to cast only British actors. Since the film was financed by Alexander Korda and produced by his London Films, obtaining the required actors was not difficult, as many actors were contractually obliged towards London Films. As with most films with ensemble casts, all of the players were billed on the same tier. Olivier, however, plays the title character and occupies the majority of screen time and therefore could be considered the lead actor.
When casting the supporting roles, Olivier chose to fortify the already impressive roll call with seasoned veterans, such as Laurence Naismith, and with promising newcomers, such as Claire Bloom, and Stanley Baker. For the murderers, Olivier originally wanted John Mills and Richard Attenborough. However, Mills thought the idea might be regarded as "stunt casting", and Attenborough had to pull out due to a schedule clash.[3]The film's marketers in the US picked up on the fact that the cast included four knights (Olivier, Richardson, Gielgud and Hardwicke) and used this as a selling point.[3]
The House of York
- Cedric Hardwicke as King Edward IV of England: Edward is the newly crowned King of England, who, with the aid of his brother, Richard, has secured his position by wresting it from Henry VI of the House of Lancaster. Sir Cedric Hardwicke was a stage actor who had moved to the U.S. to pursue a film career. He was mainly known for supporting roles in Hollywood, similar to his role in this film.
- John Gielgud as George, Duke of Clarence: Clarence is the brother of the new King. Olivier considered Gielgud one of his rivals back in the late 30's, and it was known that he disliked Gielgud's style. Sir John Gielgud's casting in this film can be interpreted as a combination of Olivier's quest for an all-star cast, and the fact that Olivier had rejected Gielgud's request to play the Chorus in Olivier's 1944 adaptation of Henry V.[3]
- Laurence Olivier as Richard, Duke of Gloucester (afterwards King Richard III): Richard is the malformed brother of the King, who is jealous of his brother's new power, and plans to take it for himself. Olivier's had created his interpretation of the Crookback King in 1944, and this film was simply a process of transferring that portrayal to the screen.[3] This portrayal earned Olivier his fifth Oscar Nomination, and is generally considered to be one of his greatest performances.
- Paul Huson as the Prince of Wales (later, for a brief while, King Edward V): Edward, Prince of Wales, is the eldest son of the King, who holds many strong beliefs, and one day wishes to become a Warrior King. This was Huson's only performance on screen, as he went on to become an artist and an author.
- Andy Shine as the Duke of York. Richard, Duke of York, is the younger son of the King: This was Shine's second and last on-screen performance, after his role in That Lady.
- Helen Haye as the Duchess of York: The Duchess of York is the mother of the King. Haye worked regularly for Alexander Korda.
- Pamela Brown as Jane Shore: Jane Shore is the King's mistress. Brown primarily worked in British films, until she branched out into Hollywood in the 60's with roles in such films as Cleopatra.
- Ralph Richardson as the Duke of Buckingham: Henry Stafford, the Duke of Buckingham, is a corrupt official, who sees potential in Richard's plans and becomes a fellow conspirator. Sir Ralph Richardson was a lifelong friend of Olivier's, and was considered one of the great four theatrical knights of the 20th Century, along with Guinness, Gielgud, and of course, Olivier. At first, Olivier wanted to use Orson Welles as Buckingham, but felt an obligation towards his longtime friend. (Olivier later regretted this choice, as he felt that Welles would have added an element of conspiracy to the film.).[3]
- Alec Clunes as The Lord Hastings (Lord Chamberlain): Hastings is a companion and friend of Richard who is accused of conspiracy by Richard himself and is abruptly executed. Clunes was primarily a stage manager, giving people, such as Peter Ustinov, their big break.
- Laurence Naismith as The Lord Stanley: Stanley has a certain dislike for Richard and is not totally willing in his cooperation with him. Stanley eventually betrays Richard at Bosworth and engages him in a one-on-one duel. Stanley Naismith was a veteran actor, known mostly in the film industry for bit parts and supporting roles.
The House of Lancaster
- Mary Kerridge as Queen Elizabeth (wife to Edward IV): Elizabeth is the Queen consort of Edward. Kerridge did not make many screen appearances, though she did sometimes work for Alexander Korda
- Clive Morton as The Lord Rivers: Rivers is a brother of the Queen consort. Morton was a British actor who mainly played supporting roles on screen.
- Dan Cunningham as The Lord Grey: Grey is a brother of the Queen consort Cunningham's role in Richard III was one of his few screen appearances.
- Douglas Wilmer as The Lord Dorset: Dorset is the eldest son of the Queen consort, and a step-son of the King. Wilmer had several supporting roles in Hollywood blockbusters.
- Claire Bloom as The Lady Anne: The Lady Anne is a widower and a orphan thanks to the acts of Richard, though, she cannot resists his charms and eventually becomes his wife. Bloom became a celebrated Shakespearean actress, and made several screen appearances.
- Stanley Baker as Henry, Earl of Richmond (later Henry VII, first of the House of Tudor): Henry, Richard's enemy, claims his right to the throne, and meets him at Bosworth. This was one of Baker's first roles as a hero, which was followed by a strong film career.
Reception
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Richard III was released in the UK on April 16 1955, with Queen Elizabeth II attending the premiere.[3] Alexander Korda had sold the rights to the film to NBC in the U.S. for $500,000 and the film was released in the U.S. on March 11 1955 on both television and cinemas.[3] The film was generally well received by critics, with Olivier's performance earning particular notice, but due to its simultaneous release through television and cinemas in the U.S., the film was a box office failure. However, the airing on U.S. television received excellent ratings, estimated at between 25 and 40 million.[7] As well, when the film was reissued in 1966, it broke box office records in many US cities.[1]
Some consider the film to be one of the best adaptations of Shakespeare on screen and that Olivier's performance as Richard is one of his best. On the film review site Rotten Tomatoes, the film obtained a 100% fresh rating from both critics and users.[8] Some claim that Olivier's performance was too theatrical, resulting in little more than a filmed play.[9] Olivier's direction is also sometimes criticized, due to the fact that it is far more restricted in its style in comparison to the bold filming of Henry V, or the moody photography of Hamlet. Also, despite the high calibre of the supporting cast, there are complaints that Olivier dominates too much, and does not allow the other actors to get into their stride.[10] There were some complaints about geographical inaccuracies in the film. In response, Olivier wrote in the New York Times: "Americans who know London may be surprised to find Westminster Abbey and the Tower of London to be practically adjacent. I hope they'll agree with me that if they weren't like that, they should have been."[11]
The film's failure at the US Box Office, however, along with the death of Alexander Korda, ended Olivier's career as a Shakespeare film director. Olivier had been planning to make Macbeth, but one of his other major backers, producer Mike Todd, died in a plane crash.[3]
Awards
In contrast to Olivier's previous work, Richard III was only nominated for a single Academy Award: Best Actor in a leading role. It was Oliver's fifth nomination in the category, though the award was won by Yul Brynner for his performance in The King and I. Richard III was the second film to have won both Best Film awards at the BAFTAS. It dominated that year's awards ceremony, winning, in addition to the two Best Film awards, the award for Best British Actor. It was also the first winner of the newly created Golden Globe Award for Best English - Language Foreign Film, which had been split from the Best Foreign Film Award. Other awards won by the film include the Berlin International Film Festival Silver Bear Award and the David di Donatello Award for Best Foreign Production. The Jussi Award was given to Oliver for Best Foreign Actor.[12]
Influence
Oliver's Richard III may have done more to popularize Shakespeare than any other single piece of work.[7] According to the British Film Institute, the 25-40 million viewers alone, during its airing on US television, "would have outnumbered the sum total of the play's theatricial audiences over the 358 years since its first performance."[7]
Johnny Rotten from Sex Pistols stated in his autobiography, Rotten: No Blacks, No Irish, No Dogs, that Olivier's memorable theatrical performance as the frankly villainous, hunchbacked King had a large influence on him. Scenes from the film were used in the Sex Pistols' documentary The Filth And The Fury.[13]
The film was the inspiration and source of parody for the BBC Television series, Blackadder.[14] For instance, Peter Cook's performance in the first episode of The Black Adder was a parody of Olivier's portrayal of the hunchback king. The crown motif shown throughout the film is also referenced.
DVD release
The film has been released outside the U.S. on DVD several times, but these releases are copies of the unrestored and cropped film. In 2004, Criterion digitally restored the film in its original anamorphic format and re-constructed it to match the release script. It was released in a 2-disc special edition, including an essay by film and music historian Bruce Eder, an interview with Olivier, and other numerous special features.[15] The DVD is subtitled in English, with a Dolby Digital 2.0 Mono audio track. The DVD also contains a commentary by Russell Lees, and John Wilders. The second disc of the DVD features a 1966 BBC interview with Olivier by Kenneth Tynan entitled Great Acting: Laurence Olivier. It also contains a gallery of posters, production stills and two trailers.
Notes and references
- ^ a b c Bruce Eder. "Richard III". Criterion. Retrieved 2006-07-08. Cite error: The named reference "eder" was defined multiple times with different content (see the help page).
- ^ Margaret Gurowitz. ""Me, drunk? Ha! You should see Buckingham!"". Richard III Society, American Branch. Retrieved 8 July.
{{cite web}}: Check date values in:|accessdate=(help); Unknown parameter|accessyear=ignored (|access-date=suggested) (help) - ^ a b c d e f g h i j k l m n Coleman, Terry (2005). Olivier. Henry Hilt and Co. ISBN 0805075364.
{{cite book}}: Cite has empty unknown parameter:|coauthors=(help), Chapter 20 - ^ Ed Nguyen. "Richard III DVD Review". DVD Movie Central Review. Retrieved 2 April.
{{cite web}}: Check date values in:|accessdate=(help); Unknown parameter|accessyear=ignored (|access-date=suggested) (help) - ^ DVD Beaver review of Richard III - Criterion Collection Edition, DVD Beaver, Review written by Gary W. Tooze, retrieved on 7-13 2006
- ^ "Walton: Richard III, Macbeth". amazon.com. Retrieved 2006-07-08.
- ^ a b c "Richard III Review". Screenonline. British Film Institute. Retrieved 2006-07-08.
- ^ "Richard III Review". Rotten Tomatoes. Retrieved 2006-07-08.
- ^ Christopher Null. "Richard III Review". filmcritic.com.
- ^ Jeffrey M. Anderson. "Richard III Review". UGO.
- ^ Robertson, Patrick (2001). Film Facts. Billboard Books. ISBN 0823079430.
- ^ "Awards for Richard III (1955)". imdb.com. IMDB. Retrieved 9 July.
{{cite web}}: Check date values in:|accessdate=(help); Unknown parameter|accessyear=ignored (|access-date=suggested) (help) - ^ Lydon, J (1995). Rotten: No Blacks, No Irish, No Dogs. Picador. ISBN 031211883X.
- ^ "Amazon Editorial Review". amazon.com. Retrieved 8 July.
{{cite web}}: Check date values in:|accessdate=(help); Unknown parameter|accessyear=ignored (|access-date=suggested) (help) - ^ "Richard III DVD". Criterion. Retrieved 2006-07-08.
See also
External links
- Richard III at IMDb
- Richard III at Rotten Tomatoes
- Bruce Eder essay at criterionco.com
- DVD Movie Central Review
- MSN Movies Page
- Screenonline Page