HENRY V
UK, 1989, 137 minutes, Colour.
Kenneth Branagh, Emma Thompson, Derek Jacobi, Brian Blessed, Alec McCowen?, Ian Holm, Paul Scofield, Richard Briers, Robbie Coltrane, Judi Dench, Christian Bale.
Directed by Kenneth Branagh.
Henry V is the work of the 28-year-old Kenneth Brannagh (The Boys from the Bush, A Month in the Country). A noted Shakespearian stage actor of the '80s, he was also a writer as well as an entrepreneur. His version of Henry V was inevitably compared with Olivier 45 years earlier. The Olivier version is patriotic, bright and heroic. While Brannagh's version is heroic, it is much more dark, focusing on the complexities of character of the king, the complexities of war and the ugliness of death. Both films stand as arresting interpretations of Shakespeare's play.
Brannagh is very good in the central role, quite a contrast to the rhetorical Olivier. In fact, he probably makes a more realistically credible Henry V. Brannagh has introduced some flashbacks from the Henry IV plays to give a brief picture of Falstaff and Prince Hal's relationship to the fat knight and his rollicking days. This highlights the contrast with his kingly bearing.
The film has an extraordinary cast of British stage stars led by Paul Scofield, Judi Dench, Robert Stephens. They bring to life the characters they play, even in small roles. Derek Jacobi is excellent as the prologue.
The film relies on close-ups for exploration of character. It also has dense interiors, stylised tableaux. For the battlefield sequences, the cast is small, nevertheless there is a picture of small-scale war, uncertain battles, brutality and bloodshed. There is a fine tracking sequence after the battle with a Latin hymn praising the glory of God which highlights the meaning of the war and the slaughter.
Brannagh has brought to life Shakespeare's play. He went on to direct Much Ado About Nothing, Hamlet (the full text) and Love's Labours Lost.
1.The impact of this version? The memories of Olivier? The status of Henry V in the film tradition?
2.The work of Kenneth Brannagh and his perspective: as producer, director, editor of the text? As actor and interpreter?
3.The use of the text, cutting some of Shakespeare's poetry? The using of excerpts from the Henry IV plays? The introduction of Falstaff? The poetry as spoken, the rhetoric and interpretation of the cast? The poetry and its drama, humour?
4.The visual impact of the film? Colour photography, style? Dark, rain, mud, blood? The re-creation of the 15th century, costumes and decor? Interiors and exteriors?
5.The editing and pace, the use of close-ups, psychological truth? The intensity of the drama? The tableaux? The tracking shots, especially for the battle? The editing of the battle sequences?
6.The musical score, its mood? The Latin hymn and its beauty, meaning, triumphant sound?
7.Audience knowledge of this aspect of English history? England and France? The rights and wrongs of the claims to the French throne? The sequence of the argument about the claims? The right, each side seeing God on its side?
8.The role of the prologue speaker, the introduction to the film, the film studio? His 1980s clothes? The poetry? His inviting the audience into the sequences? His continued reappearances? The credibility of the prologue speaker and the development of the drama?
9.Henry V and his past, his rollicking and reckless youth, Falstaff and company, drinking and gambling, play? The change? Henry's heritage, the English throne and its responsibilities? Banishing his past, banishing Falstaff? The insertion of the flashbacks and his memories? His regrets? Pistol and company in battle? Bardolph and his looting and his decision to hang him? Henry as an enigma?
10.Henry as king: close-ups, the ordinary man, his age, his behaviour in the court, his reaction against plots, execution of his friends who were traitors? The decision to go to France, to be involved in war, attitude towards war and battle? Valiant fighting? His relationship with the French emissary? Friendship with Exeter and relying on his nobles? The vigil and his walk through the camp, his listening to the men, arguing with them about their loyalties? The `Unto the breach, dear friends' speech in the heat of battle? The rhetoric of the St Crispin speech and his rousing rendition of it? The kingly ideal? The relationship with the King of France? Kate and the wooing? The humour? Order restored? The establishing of peace? Shakespeare's understanding of the role of the king, battle, God, divine right, divine order?
11.Pistol at the inn, the clash with Bardolph and co, the fights? The robberies during the battle, Pistol's tears at Bardolph's death? Bardolph and the hanging? The boy with them, sharing their adventures, the young boys in battle, their deaths? The king and his march with the boy? The memories of Falstaff? Falstaff's death? Mistress Quickly and her caring for Sir John, marriage to Pistol? Her farewell to Pistol? The news of her death?
12.The King of France, his claim to the throne, dignity, suing for peace? The ambassador and his manner, his being received with respect? His perspective on the battle? The Marshall of France and the involvement in the war? The Dauphin and his pride? The French noble, vaunting their power, their deaths?
13.Exeter and the English nobles, their loyalty, their vigour in battle? Their conquering? The English dead compared with the piles of French dead? The visualising of the battlefield after the war?
14.The role of the church, the opening with the discussion of the bishops, the bishops and the long explanation of the claim to the French throne?
15.The presentation of the traitors, the explanation of the disloyalty, in league with France?
16.Kate, the vigorous princess, her chaperone, the humour of her learning English? Henry wooing her, the play with language? Falling in love? The uniting of the kingdoms?
17.The film as an experience of Shakespeare's drama, the use of film techniques: close-ups and their effect, the vast sweeps, the camp, the battle sequences, the hanging, the dead on the battlefield, the carrying of the boy? A blend of pageantry and serious drama? An interpretation for the '80s and the late 20th century?
