King Henry V of England is manipulated by the clergy into invading France to claim the crown; He finds that it is more difficult than he imagines, and must rely on his ability to lead his ... See full summary »
To try and kick-start her show-business career, our heroine admits to a Chicago murder. But although Cook County don't seem to let dames swing, and even with top slippery lawyer Billy Flynn... See full summary »
William A. Wellman
Olga, Masha, and Irina Prozoroff lead lonely and purposeless lives following the death of their father who has commanded the local army post. Olga attempts to find satisfaction in teaching ... See full summary »
In the inspired Olivier concept, Shakespeare's play begins as a performance in the Globe Theatre, shifting in broad cinematic terms to an epic narrative of Henry V, who had developed from a dissolute youth to a purposeful monarch. Proving his ability as a soldier and skillful leader, he unites the dissident factions in the English army and goes on to crush the French, against enormous odds, at Agincourt. Arranging a treaty with the French court, he woos Princess Katharine to whom he is formally betrothed as part of the peace agreement. Written by
The only lines in the film not written by Shakespeare are spoken by Pistol at the end of the Boar's Head scene: "Farewell, farewell, divine Zenocrate/Is it not passing brave to be a king/And ride in triumph through Persepolis!" They are from "Tamburlaine the Great" by Shakespeare's contemporary, Christopher Marlowe. See more »
O! for a Muse of fire, that would ascend the brightest heaven of invention; a kingdom for a stage, princes to act and monarchs to behold the swelling scene. Then should the war-like Harry, like himself, assume the port of Mars; and at his heels, leashed in like hounds, would famine, word, and fire crouch for employment. But pardon, gentles all, the flat unraised spirits that hath dared on this unworthy scaffold to bring forth so great an object: can this cockpit hold the vasty ...
[...] See more »
The advertising poster for the film's first U.S. run (in 1946) billed it as "A Two City Film" when it should have read "A Two Cities Film", as it does in the film's actual opening credits. See more »
Originally adapted in 1930 by Joseph Canteloube for "Songs of the Auvergne"
Played as background music during the French-English lesson scene
Conducted by Muir Mathieson See more »
"Still be kind, and eke out our performance with your mind"
It's perhaps surprising that when people from a theatrical background turn to film directing, they tend to produce pictures that are purely cinematic and freed from staginess. This is the case with Laurence Olivier, as it was with Rouben Mamoulian and Orson Welles. Here, with his debut feature as director, Olivier not only created a landmark propaganda film, but also redefined the screen Shakespeare adaptation and established a new precedent of renowned actor turning competent director.
Shakespeare's play of Henry V was of course ideal for a wartime morale booster, featuring as it does heroic action, rousing speeches, historical parallels with the landings at France, a protagonist who is valiant yet warm and humane, as well as plenty of little extra touches such as exploring the psychology of the troops on the eve of battle and stressing the need for unity between English, Irish, Scotch and Welsh. It was also the perfect play for Olivier to test his ideas on how a Shakespeare play should be turned into a film. The chorus of Shakespeare's original text tells the audience that the great battles and courts can scarcely be contained on a stage and that you must "on your imaginative forces work". Using this idea as his starting point, Olivier begins the film with a recreation of a contemporary production of the original play at the Globe theatre, complete with backstage glimpses, bumbling actors and a rowdy Elizabethan audience. Then, as Leslie Banks' chorus commands the audience to "work your thoughts", the theatre disappears, and the action subtly opens out into larger sets. Eventually, we are transported to location with thousands of extras for the climactic battle scene.
This was not only a complete reworking of screen Shakespeare, it was part of a whole approach to cinema. Olivier's Henry V, although totally different in content, is stylistically in the same tradition as Michael Powell's The Red Shoes or the elaborate ballet sequences of MGM musicals, which also expand would-be stage performances into pure cinematic fantasy. The originator of this approach was probably Busby Berkeley, who also made the switch from stage to screen, albeit from the music hall to the role of choreographer for screen musicals. The musical sequences that Berkeley constructed for Warner Brothers musicals in the mid-1930s always begin with a stage production, but then turn into tour-de-forces of choreography, camera positioning and massive sets, all of which could never be contained or properly appreciated on a stage. Olivier is effectively doing the same thing with a Shakespeare play as Berkeley did with a dancing chorus line.
Of course, all this alone isn't what makes Henry V a great work. For a first-time director Olivier's eye is remarkably sharp. He keeps the action smooth in dialogue scenes by making use of long takes, and preferring to move the camera to change the framing rather than breaking the shot with a cut, often dollying in on a single actor to achieve a close-up. He's not quite experienced enough yet though to give these shots a really natural flow, and he doesn't really get the chance to show off his talents as a dramatic director as he would later in Hamlet and Richard III. Having said that, he does manage to give remarkable tenderness to Henry's soliloquy on the eve of battle and his courtship of Kate towards the end of the film.
The highpoint however is the impressive Agincourt battle sequence, which was influenced by the battle in Eisenstein's Alexander Nevsky, but is actually an improvement on the Russian master's equivalent work. He similarly builds up tension as the opposing army begins its charge, using a rhythmic editing pattern and dynamic close-ups. However, whereas Alexander Nevsky's battle occasionally looked obviously staged and unrealistic, in Henry V you could as well be witnessing a genuine medieval battle.
Olivier selected a top notch cast composed of actors with theatre experience like himself, with exuberant performances from Robert Newton as the cowardly Pistol and Esmond Knight as Welsh captain Fluellen, and too many other great names to mention. Olivier himself, after a decade of learning how to act for screen, perhaps relished the chance to give huge, concert-hall-filling Shakespearean delivery again, although he does manage to rein his performance in again for the quieter scenes.
Henry V is remarkable for a director's debut feature. Olivier would direct two more prestigious Shakespeare adaptations, as well as a few dramas, but Henry V is his freshest and most engaging work as a director, and still remains the best.
7 of 9 people found this review helpful.
Was this review helpful to you?