IMDb > Richard III (1995)
Richard III
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Richard III (1995) More at IMDbPro »

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Overview

User Rating:
7.5/10   10,621 votes »
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Down 38% in popularity this week. See why on IMDbPro.
Director:
Contact:
View company contact information for Richard III on IMDbPro.
Release Date:
29 December 1995 (USA) See more »
Genre:
Tagline:
What Is Worth Dying For... Is Worth Killing For. See more »
Plot:
The classic Shakespearean play about a murderously scheming king staged in an alternative fascist England setting. Full summary » | Add synopsis »
Plot Keywords:
Awards:
Nominated for 2 Oscars. Another 6 wins & 9 nominations See more »
User Reviews:
An unfairly maligned interpretation See more (80 total) »

Cast

  (in credits order) (verified as complete)

Directed by
Richard Loncraine 
 
Writing credits
William Shakespeare (play)

Ian McKellen  and
Richard Loncraine 

Produced by
Maria Apodiacos .... executive producer
Stephen Bayly .... producer
Lisa Katselas .... producer (as Lisa Katselas Paré)
David Lascelles .... line producer
Ellen Dinerman Little .... executive producer
Ian McKellen .... executive producer
Mary Richards .... associate producer
Joe Simon .... executive producer
Michele Tandy .... associate producer
 
Original Music by
Trevor Jones 
 
Cinematography by
Peter Biziou 
 
Film Editing by
Paul Green 
 
Casting by
Irene Lamb 
 
Production Design by
Tony Burrough 
 
Art Direction by
Richard Bridgland 
Choi Ho Man 
 
Costume Design by
Shuna Harwood 
 
Makeup Department
Kathy Ducker .... makeup artist
Sallie Evans .... makeup artist (as Sally Evans)
Richard Glass .... contact lens optician
Pat Hay .... key makeup artist
Chris Lyons .... special effects teeth
Liz Michie .... hair stylist
Daniel Parker .... makeup designer: Ian McKellan
Daniel Parker .... prosthetics designer
Stephen Rose .... hair stylist
Jemma Scott-Knox-Gore .... contact lens technician
Sian Turner .... make up/hair dailies (uncredited)
 
Production Management
Ken Holt .... unit manager
Mike Nunn .... post-production supervisor
 
Second Unit Director or Assistant Director
Todd Austin .... second assistant director
Marios Hamboulides .... trainee assistant director
Mark Layton .... second assistant director
Ken Tuohy .... first assistant director
Neil Tuohy .... second assistant director
 
Art Department
Michael Bates .... carpenter
Jon Billington .... assistant art director
Paul Cheesman .... property storeman
Sarah Jane Cornish .... assistant art director
Michael Davis .... carpenter
Kevin Day .... stagehand
Gary Dyer .... stagehand
Steve Furneaux .... carpenter
John Godfrey .... construction manager
John Greaves .... storyboard artist
Charles Hammett .... carpenter
Ken Hawkey .... stand-by painter
Arthur Healey .... painter
Jonathan Hurst .... chargehand stand-by propman
Douglas Ingram .... storyboard artist
Martin Kingsley .... chargehand dressing propman
Adam Kyriakou .... carpenter
Rebecca Loncraine .... art department assistant
Eric Lowen .... carpenter (as David Lowen)
Steve Malin .... stagehand
Brian Mitchell .... stand-by stagehand
Keith Muir .... chargehand stagehand
Con Murphy .... stand-by rigger
Peter Murray .... carpenter
Tony Musk .... carpenter
Brian Neighbour .... assistant construction manager
Keith Pitt .... dressing propman
Harry Portlock .... carpenter
Butch Roper .... painter
Dominic Smithers .... production buyer
Tony Snook .... carpenter
Alan Tagg .... painter
Ty Teiger .... property master
Dave Thompson .... painter
Nick Turnbull .... stand-by propman
Peter Watson .... dressing propman
Tommy Westbrook .... stand-by carpenter
Steve Williamson .... supervising painter
Nick Wood .... painter
Ginger McCarthy .... construction rigger (uncredited)
 
Sound Department
John Lewis Aschenbrenner .... sound trainee (as John Lewis)
Gerry Bates .... sound maintenance
Philip Bothamley .... sound editor
David Brady .... assistant foley editor
Renato Giannelli .... sound re-recording mixer
Michael Harris .... playback operator (as Mike Harris)
John Iles .... stereo sound consultant: Dolby
Eric Jordan .... assistant sound engineer
James Manning .... assistant sound engineer
Chris Nuttall .... sound
William Parnell .... dialogue editor
Rocky Phelan .... foley editor
David Stephenson .... sound recordist
John Taylor .... stereo sound consultant: DTS
Lee Taylor .... dubbing mixer
Elaine 'Chucks' Thomas .... adr editor
Aad Wirtz .... dubbing mixer
Toby Wood .... assistant sound engineer
Garry Fiferman .... sound re-recordist (uncredited)
 
Special Effects by
Philip Clark .... special effects technician (as Phil Clark)
John Coyle .... special effects assistant
Paul Dimmer .... special effects technician
John Evans .... special effects supervisor
David Eves .... special effects assistant
Matthew Horton .... special effects technician
Robert Nugent .... senior special effects technician
Peter Skehan .... senior special effects technician
James Skipsey .... special effects assistant
David Watkins .... special effects technician
Barry Whitrod .... senior special effects technician
 
Visual Effects by
Richard Bain .... compositor
Jon Bunker .... digital effects director (as John Bunker)
Frazer Churchill .... film recording
Matthew Holben .... visual effects producer
Charlie Noble .... compositor
Mark Stannard .... compositor
Richenda Wheeler .... CG artist
Arthur Windus .... visual effects producer
 
Stunts
Jonathan Cohen .... stunts
David Cronnelly .... stunt fall performer
Jim Dowdall .... stunt coordinator
Steve Griffin .... stunts
Paul Heasman .... stunts (as Paul Heaseman)
Mark Henson .... stunts
Nick Hobbs .... stunts
Mark Lisbon .... stunts
Gary Powell .... stunts
Lee Sheward .... stunts
Julian Spencer .... stunts
Danny Ray Cook .... precision driver (uncredited)
 
Camera and Electrical Department
Kenneth Atherfold .... key grip
Alex Bailey .... still photographer
John Barry .... lighting rigging crew
Robert Binnall .... focus puller
Craig Bloor .... clapper loader
Peter Bloor .... chief lighting technician
Peter Bloor .... gaffer
Sam Bloor .... lighting technician
Gary Blowfield .... video operator
Rosalyn Ellis .... camera trainee
Mark Evans .... lighting technician (as Mark 'Rocky' Evans)
Joe Felix .... second camera grip
Darren Gatrell .... lighting rigging crew
Alan Grosch .... generator operator
Colin Hazell .... crane operator
Françoise Higson .... video assistant
Ron Lyons .... lighting rigging crew
Ray Meehan .... assistant chief lighting technician
Mark Moriarty .... focus puller: second camera
Tim Murphy .... electrical rigger
John Palmer .... second assistant camera
Annie Phillips .... lighting technician
Ronnie Phillips .... electrician
Clive Prior .... clapper loader: second camera
Dave Ridout .... best boy
Sid Skinner .... rigger
Peter Taylor .... camera operator
Danny Webster .... rigger
Frankie Webster .... chargehand rigger
Dean Wilkenson .... lighting rigging crew
Alan Williams .... electrical rigger
 
Casting Department
Lisa Beach .... casting consultant: USA
Ray Knight .... extras casting
 
Costume and Wardrobe Department
Sheila Cullen .... wardrobe assistant
Elvis Davis .... key set costumer
Alan Flyng .... wardrobe supervisor
Victoria Harwood .... wardrobe assistant
 
Editorial Department
James Carew .... second assistant editor
Sandra Frieze .... post-production assistant
Peter Hunt .... grader
Elaine 'Chucks' Thomas .... first assistant editor
 
Music Department
Paul Golding .... music mixer
Paul Golding .... music recordist
Isobel Griffiths .... orchestral contractor
Julian Kershaw .... orchestrator
James Manning .... assistant music engineer
Victoria Seale .... music coordinator for cmmp
Kirsty Whalley .... music mixer
Kirsty Whalley .... music recordist
Gavyn Wright .... orchestra leader (as Gavin Wright)
 
Transportation Department
Mike Bartlett .... location driver
Bob Dean .... location driver
Terry English .... unit driver
Gerry Floyd .... unit driver
Tony Foster .... location driver
Bert Griffin .... location driver
Mike Harris .... location driver
Scott Henley .... location driver
John Ott .... location driver
Terry Reece .... unit driver
Albert Smith .... location driver
Mike Smith .... unit driver
Barry Stone .... location driver
Dennis Swan .... location driver
Charlie Thomas .... location driver
Bob Valles .... location driver
 
Other crew
Maria Apodiacos .... script supervisor
Anushka Athaide .... assistant to producer
Rosie Bedford-Stradling .... unit nurse
Erica Bensly .... production coordinator
Charles Bodycomb .... armorer
Etienne Bol .... consultant: aviation
Sarah Booth .... assistant accountant
Dale Clarke .... armorer
Steve Dent .... horse master
Richard Eyre .... original stage production
Simon Fraser .... assistant production coordinator
Andy Hennigan .... post-production accountant
Charles Hubbard .... location manager
Andrew Jack .... dialogue coach
Patricia Johnson .... unit publicist
Mig Kimpton .... assistant: Mr. Mckellen
Grainne Marmion .... production executive
Charles McDonald .... unit publicist
Caroline Moore .... production assistant
Steve Morphew .... stand-in
Rajeshree Patel .... assistant accountant
Huw Phillips .... rushes grader
Timothy R. Price .... production assistant
François Prins .... consultant: aviation
Adam Richards .... co-location manager
Jocelyn Skottowe .... military advisor
Joss Skottowe .... military advisor
Charlie Somers .... floor runner
Tony Stanton .... copyist
Emma Stokes .... stand-in
Phil Todd .... sax and flute solo
Ken Whitfield .... military extras supplier
Jon Bunker .... title designer (uncredited)
 
Thanks
James Middleton .... special thanks
 

Production CompaniesDistributorsSpecial EffectsOther Companies

Additional Details

Also Known As:
MPAA:
Rated R for violence and sexuality
Runtime:
104 min
Country:
Language:
Color:
Color (Technicolor)
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:

Did You Know?

Trivia:
The scenes of the massive rally were digitally composed from shots of a much smaller crowd (including Ian McKellen and extras recruited via local radio) placed in different positions within the hall.See more »
Goofs:
Errors made by characters (possibly deliberate errors by the filmmakers): As Edward finishes his dance with Queen Elizabeth (at the beginning) and they walk off the dance floor, the young prince slips and falls.See more »
Quotes:
[first lines]
Prince of Wales:Goodnight Father.
King Henry:Goodnight son.
Prince of Wales:Goodnight your majesty.
See more »
Movie Connections:
Referenced in "TFI Friday: Episode #1.6" (1996)See more »
Soundtrack:
I'm Sitting On The Top Of The WorldSee more »

FAQ

This FAQ is empty. Add the first question.
69 out of 77 people found the following review useful.
An unfairly maligned interpretation, 8 April 2000
Author: Josh Martin

From the very first Shakespeare film (a silent version of "King John," of all things), filmmakers have sought to impose their own unique visions on Shakespeare; in the case of "King John," it was fairly simple (a scene of John signing the Magna Carta, which isn't in Shakespeare's play). Ever since, Shakespeare adaptations have faced the difficulty of remaining true to the greatest writer in the history of the English language while bringing something new to the table; filmed plays, after all, belong on PBS, not in the cinema.

Luckily, the minds behind this adaptation of "Richard III" is more than up to the challenge. To be fair, putting the movie in an alternate 1930's Fascist England doesn't serve the sort of lofty purpose that, say, Orson Welles' 1930s updating of "Julius Caesar" (intended to condemn the Fascist governments in Europe at that time) did. What it does do is allow the filmmakers to have a lot of fun. It's not necessarily more accessible -- the Byzantine intrigues and occasionally confusing plot can't be tempered by simply moving the setting ahead 500 years -- but it's definitely more entertaining. There's just something inherently amusing about Richard sneaking off for a pee after the "winter of our discontent" speech (still rambling on as he, ahem, drains the main), or giving the "my kingdom for a horse!" bit while trying to get his Jeep out of the mud.

To be sure, the Fascist England shown in the film isn't very convicing -- from OUR historical hindsight -- but this isn't our world, this is a world fashioned from the imagination that just happens to look like our own, just as Shakespeare's were. You can't criticize "King Lear" for its faux-historical setting any more than you can criticize this film for the same reason.

The complaint registered by a previous commentator -- more or less, "if you're going to move Shakespeare to a new period, you need to be true to that period" -- is utter bollocks, really. After all, it is inherently "untrue" to have people running around speaking Elizabethan dialogue in the 1700s, 1800s, 1900s, etc., so if you try to remain "true," you end up stripping away the dialogue -- the very essence of Shakespeare. I agree with the even more controversial Shakesperean theatre director Peter Sellars in that words are not what makes Shakespeare great, but rather his characters and ideas. But Shakespeare communicated those through his words, and if you change them, it's not Shakespeare anymore. The same commentator pointed to Branagh's more faithful interpretations as a counterweight to this film, yet Branagh's "Hamlet" is not only set in the 18th century but in a country that looks nothing like 1700s Denmark, even though the characters refer to it as such.

The complaints about McKellen's "hamminess" are equally unfounded. What are they using as their basis of comparision? Olivier? Olivier's Richard makes McKellen's look positively restrained by comparision. Richard is egotistical, bombastic, and prone to spouting lines like "thine eyes, sweet lady, have infected mine." I have little doubt in my mind that Skakespeare did not intend Richard to be played "straight" -- indeed, if Shakespeare had any concept of what we call "camp," he was probably thinking of it when he wrote the play. From this point of view, the "silly" little touches like the Al Jolson song at the end and even the newsreel of Richard's coronation fit in perfectly.

As with most Shakespeare films, the plot has been streamlined -- nearly all of the characters are here, but scenes and speeches have been truncated and removed, but despite what some have said, these aren't fatal to the plot or the characters. Richard's seduction of Anne does seem to occur to quickly, but it's not a completely successful one, seeing how she lapses into drug addiction later in the film. Besides, Richard's evil has nothing to do with the fact that his "inability to experience romantic love." Richard isn't a psychological portrait like Hamlet, he's a ruthless bastard, a piece of Tudor propaganda. When people praise "Richard III" (the play), it's not for its character depth.

I notice I've focused more on answering the film's detractors instead of dilineating its merits; in a way, I guess this expresses how much I like it. The cinematography, direction, and acting are all top-notch. The sets are perfect, once you realize that this is NOT historical England -- the power plant subbing for the Tower is more imposing than the real thing could ever be, and the factory ruins that serve as Bosworth Field are certainly more interested than a bunch of tanks and Jeeps roaming around the open countryside. Shakespeare purists will, of course, hate it, but then they hate anyone who dares to put anything more than a cosmetic spin on the Bard, be it Welles' "Voodoo 'Macbeth'" or Brook's stage production of "Titus Andronicus." For everyone else, read the play, then see the movie -- it'll help increase your appreciation of both.

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