A Comparison of Olivier and Branagh's Adaptations of Henry V
Media Comparative Essay: (in the medium of film) concerning the 2 well
known film versions of Shakespeare’s Henry V of Olivier (1944) and
Branagh (1989) in the specific scenes of “A Little Touch of Harry in
the Night” and “The Crispin Crispian Speech”
A comparison of these scenes in the two film versions of Henry V
indicated above in a discussion of all the major cinematic issues in
integrating a story like Shakespeare’s and to include some discussion
of the relative success in conveying to a cinema audience the
director’s message.
“…We few, we happy few, we band of brothers. For he today who sheds
his blood with me shall be my brother. Be he ne'er so vile, this day
shall gentle his condition, and gentlemen in England now abed shall
think themselves accursed they were not here, and hold their manhood’s
cheap whilst any speaks, that fought with us upon St. Crispin's day!”
Henry V Act 4, Scene 3
There is no more stirring summons to arms in all of literature than
Henry's speech to his troops on St. Crispin’s Day. Such words have
been acted and recited to their own epic proportions in the numerous
times they have been performed. How could an extract so uniformly
expressed since its Shakespearean origin, be so modified in conveying
a totally antithetical message? What would be the effect in displaying
such a contrasting portrayal to cinematic thousands rather than
theatrical hundreds?
When 2 films of diverse qualities are constructed, both aimed at the
same theme of Shakespeare’s illustration of Henry V, a natural
comparison is made between them. It is under thi...
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... war. Higher techniques involved in
conveying a typical style in the films are largely shrouded in the
capabilities of the main actors. If unwrapped we arrive at the
comparison of vocal abilities of the actor/directors. We have found
Olivier does without the music in these self-centralised scenes. He
releases a voice of skill and enigma to his listeners. Music in
Branagh is creative and at many times very appealing. But to what
extent is music appealing when the strained words underneath carry
little value? Olivier, who was 37 in 1944, wrote that Henry V was the
kind of role he couldn't have played when he was younger: "When you
are young, you are too bashful to play a hero; you debunk it." For
Branagh, 29 was old enough. However how much was Branagh’s youth and
vocal inexperience charged for, in the price of success?
rebellion within the tavern setting as he becomes an adult with the political prowess to
Henry V is not a simple one as it has many aspects. By looking into
The film uses various techniques to present a particular view of the war against France. What is that interpretation and how does the film convey it?Although the Branagh version of Shakespeare's Henry V remains very close to the text, with only a few lines left out of the film, the movie portrays a very clear and distinct message about war and Branagh's opinion on the matter. Henry V is fundamentally a play about war, and it would have been very easy for Branagh to make his version of the play into a film that glorified war. Instead, Branagh took the opportunity to make a statement about what he felt was the true essence of wars - both medieval and modern.It is clear through Henry V that Branagh thinks that wars are a waste of precious human life, and in the end are fruitless, causing more loss than gain.
his face whereas in the BBC's we can see the top half of his body.
Shakespeare has written three different ‘types of genre’ in his plays. One of these is his Tragedies like ‘Macbeth’ and ‘Romeo and Juliet’. Another genre he writes within is Comedy, an example of which is ‘Much Ado About Nothing’.
This essay shows the subtle differences that can occur between directors, even when they are basing the movie off of almost the exact same script. Almost no two movies are exactly alike, no matter how hard the directors and actors might try. Minor personality differences and scene changes greatly affect the atmosphere and meaning of the same movie. One example of this is the movie Romeo and Juliet. This movie tells the gripping story of two young lovers who are forbade to see each other because of a viscous feud between the two families. I'll be looking at the older 50's version of Romeo and Juliet and comparing it to the newer version of Romeo and Juliet.
issue of war and while on the surface it puts England and Henry in a
even of it’ suggests that it is the truth that Henry is no more than a
Hamlet, a tragedy by William Shakespeare shows a lot of adaptations to movies. Hamlet by Mel Gibson (1990) and Kenneth Branagh (1996) interpret and portray the play by Shakespeare in different ways. The two film versions of Act IV of Hamlet have many differences and similarities. Kenneth Branagh’s version of Hamlet is seen covering most of the original text of Shakespeare’s play of Hamlet unlike the Mel Gibson version which omits many scenes and dialogues. The film version of Hamlet featuring Kenneth Branagh is a more successful production of Shakespeare’s play of Act IV according to its setting, editing choices and character portrayal.
Composers throughout various zeitgeists are linked by different representations of universal human concerns, and their texts simultaneously embody certain values and agendas individual to themselves. An exploration of Shakespeare’s King Richard III (1592) and Al Pacino’s Looking for Richard (1996) allows for a greater understanding of the composer’s respective contexts, along with their intended agendas, through the lens of their own societal values and concerns. The manipulation of Richard III’s persona, whether by authorial adaptation of historical sources related to his character, or through the differing views of Richards motives, are universal concepts, that when studied in relation to the differing time periods, accentuates the context and our understanding of recurrent aspects of the human experience.
Different adaptations of William Shakespeare’s works have taken various forms. Through the creative license that artists, directors, and actors take, diverse incarnations of his classic works continue to arise. Gregory Doran’s Hamlet and Kenneth Branagh’s Hamlet bring William Shakespeare’s work by the same title to the screen. These two film adaptations take different approaches in presenting the turmoil of Hamlet. From the diverging takes on atmosphere to the characterization of the characters themselves, the many possible readings of Hamlet create the ability for the modification of the presentation and the meaning of the play itself. Doran presents David Tenant as Hamlet in a dark, eerie, and minimal setting; his direction highlighting the
During class we have reviewed many versions of the play Hamlet. The two movie versions that I chose to compare on the play Hamlet are the David Tennant version and the Kenneth Branagh version. I chose these two versions because these were the two that most interested me. I believe that some scenes from each movie were better than the other, but overall I liked these two versions just as equally. The three main scenes that stood out to me that I will be comparing are ‘Ophelia’s Mad Scene’, the ‘Hamlet Kills Polonius’ scene, and Hamlet’s ‘To be or not to be’ scene.
The contention that Shakespeare’s histories are in fact political drama appears to fall uneasily on the ears of modern readers. One reason for this could be the fact that we, as a society, have blurred the connotation of politics to the vaguest of notions – narrow at times, yet far too inclusive. A young reader is likely to view politics as election and debate, a sort of ongoing candidacy. Indeed, this may be a valid modern definition, if somewhat limited. For our purposes, however, this definition is not sufficient to establish a starting point from which to examine Shakespeare’s presentation of political drama.
What's he that wishes so? My cousin Westmoreland? No, my fair cousin. 1f we are marked to die, we are enow to do our country loss; and if to live, the fewer men, the greater share of honor. God's will! I pray thee wish not one man more. By Jove, I am not covetous for gold, nor care I who doth feed upon my cost; it earns me not if men my garments wear; such outward things dwell not in my desires: but if it be a sin to covet honor, I am the most offending soul alive. No, faith, my coz, wish not a man from England. God's peace! I would not lose so great an honor as one man more methinks would share from me for the best hope I have. 0, do not wish one more! Rather proclaim it, Westmoreland, through my host, that he which hath no stomach to this fight, let him depart; his passport shall be made, and crowns for convoy put into his purse; we would not die in that man's company that fears his fellowship to die with us. This day is called the Feast of Crispian: he that outlives this day, and comes ...
"That I may pour my spirits in thine ear,/And chastise with the valor of my