SHAKES-SCREEN: Richard III (1995)

I rate this as one of my favourite Shakespeare films!

Placing one of Shakespeare’s history plays in another specific historical period is always a bit of a risky thing. Such a ploy more frequently works better on stage than on screen –our suspension of belief being somewhat more liberal in a theatre than in front of a screen. Often the transfer in time is to a “generic” future historical setting, with a bit of this period and a bit of that. Sometimes this works, sometimes it doesn’t. The reason I think placing this version of Richard III in the 1930s works so well is the faithfulness to that conceit, which is carried through impeccably in every detail, though never in a forced or laboured way. It is a clever, often witty, adaptation of Shakespeare’s masterly examination of one man’s relentless pursuit of power –and has both elegance and a style of its own aside from the play it is based on, and a healthy respect of Shakespeare’s glorious language and characters.

Perhaps the language is what may deter some people from fully enjoying this, though I would argue that it merely demands paying a little more attention to what is being said than when watching a “normal” film. Contrary to what many may think, Shakespeare’s language is not difficult or obscure –quite the opposite– but you do need to listen to it! Here, of course, you are helped by having some of the finest actors around, with not only great command of that language, but the ability to present clearly defined yet complex characters, so that we are able to keep track of who is who in the web of family connections and intrigue. The film is much shorter than the play (Shakespeare’s longest), and does away with some characters and combines others into one figure. This polishes the narrative somewhat, but does not take anything vital away from the unfolding tale. I do, however, recommend going back to the original play if you enjoy this film, because it will give an even broader appreciation of the story. And what a story!

Centre-stage (or centre-screen, in this case) is Ian McKellen as Richard. It is surely his finest screen performance, and is certainly the one that really made me appreciate his work when I first saw the film upon its original release. Like Olivier before him, his Richard is a performance perfected through countless performances on stage in the role, and with devilish charm he milks each ounce of scheming, determination and wickedness from his scenes. Yet, unlike Olivier, he also shares with us a certain clumsiness and even pathos, which though it does not excuse in any way his actions does give us some understanding of why he has become the grotesque figure he is.

Of the other performances I particularly like Jim Broadbent’s take on the Duke of Buckingham –his beaming face has eyes of steel, and he seems to be silently scheming, listening, and judging in every scene in which he appears. Anette Bening also does a terrific job and makes more much of her part than is written. But all the actors do wonders in conveying their own particular “angsts” and concerns. Seeing the film again now, I only wish it was longer and we saw even more of some of them.

Finally I must applaud the designers of the production –both visual and aural– who have created a totally believable alternate English setting of the 1930s. It is both familiar and alien at the same time –which is what makes the film’s central idea so chilling: That such a thing could have happened in England at this time as it did in Germany and Italy and Spain. Shakespeare may have been writing about the 15th century, but the scheming of despots, hungry for power, goes on and on and on.

Richard III (1995)
Director: Richard Loncraine
With: Ian McKellen, Nigel Hawthorne, Anette Bening, Maggie Smith, Jim Broadbent, Robert Downey, Jr.