Shakespeare Marathon, part IX: Henry IV, Part Two

            The maturation of the future King Henry V and the bawdy displays by Falstaff are probably the most salient parts of the two Henry IV plays. Having displayed his mettle in battle, the future Henry V finds himself increasingly drawn to his familial obligations and thus forsakes the company of the raffish Falstaff.
             It is unfortunate that I have not had the chance to watch Chimes at Midnight nor the BBC productions of the two Henry IV plays, matters to which I will attend when I am alloted free time later this week.
            For now, as of 1 November 2011, my readings/viewings have included:
1. All's Well that Ends Well (read; watched the BBC production)
2. Antony and Cleopatra (read; watched the BBC production)
3. As You Like It (read, watched the BBC production and I am almost finished watching the 1936 film adaptation with Olivier)
4. The Comedy of Errors (read; watched the BBC production)
5. Coriolanus (read; watched the BBC production)
6. Cymbeline (read)
7. Hamlet (read; watched the 1996 Kenneth Branagh adaptation and the 2009 RSC production featuring David Tennant and Patrick Stewart)
8. Henry IV, Part One (read)
9. Henry IV, Part Two (read)
10. Henry V (read)
11. Henry VI, Part One (read)
12. Henry VI, Part Two (read)
13. Henry VIII (read)
14. Julius Caesar (read; watched the 1950 film version starring Charlton Heston)
15. King John (read)
16. King Lear (currently reading; watched the 1971 version by Kozintsev)

Other parts of this marathon that stand out were this weekend's viewing of Kozintsev's 1971 adaptation of King Lear.

Shakespeare Marathon, Part VIII: Henry IV, Part One

Witnessing the evolution from rogue to man of distinction is a pleasurable experience.  Nowhere is this more evident than in a re-reading of Henry IV, Part One. Hal, the young wastrel and disappointment to his father, is, along with Falstaff, the most distinct element of the play. Henry IV, Part One is yet another work completed in my quest to read and see performed all of Shakespeare's 37 plays. The only options I have for witnessing a performance of the text will be through the BBC series. One somewhat unorthodox alternative will be, of course, a viewing of Falstaff , or Chimes at Midnight (1966) by Orson Welles. One film that borrows much from the saga of young Prince Hal is My Own Private Idaho (1991), an updating of sorts set in the Pacific Northwest of the United States. This filmconcerns a youth born into distinction who surrounds himself with Falstaffian elements that make up the world of male hustling. For now, I have had the pleasure of either watching or reading All's Well that Ends Well, Antony and Cleopatra, As You Like It, The Comedy of Errors, Coriolanus, Cymbeline, Hamlet, Henry IV, Part One, Henry IV, Part Two and Henry V. As film adaptations go, I have not had the opportunity to move beyond the offerings of the BBC, although a viewing of As You Like It (1936) is in the works.

Shakespeare Marathon, part VII: Hamlet

To assume that I could add anything to textual analysis of Hamlet would be the height of arrogance. Having stated such, all I can add to the body of work done on this oft-analyzed tragedy are a few resources for those who enjoy cinematic adaptations of the play. To begin with, it is often stated that Olivier provided the definitive screen portrayal of the tortured Danish prince. Olivier, who also gave us Henry V (1944) and Richard III (1956), filmed this version of Hamlet in 1948.

http://www.amazon.com/Hamlet-Criterion-Collection-Laurence-Olivier/dp/0780021312/ref=sr_1_1?ie=UTF8&qid=1319060001&sr=8-1

Equally impressive is a Soviet adaptation by Kozintsev that premiered in 1964. To purchase it from Amazon, here is the link:

http://www.amazon.com/Grigori-Kozintsevs-Original-Widescreen-Special/dp/B004Q87DBQ/ref=sr_1_3?s=movies-tv&ie=UTF8&qid=1319060085&sr=1-3

1964 was also significant for this work as Richard Burton brought the character of Hamlet to life on the Broadway stage. A non-dress rehearsal of the play has been released on DVD:
http://www.amazon.com/Richard-Burtons-Hamlet-Burton/dp/B00000JMON/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1319060142&sr=1-1

The BBC has proven to be the greatest resource for Shakespeare purists, and Hamlet is part of the series undertaken in the late 1970s and early 1980s. Derek Jacobi plays the tortured Dane in this particular production.

Purists were alarmed at the prospect of Mel Gibson, previously known primarily for action films, as Hamlet. Franco Zeffirelli, who had already given us the definitive Romeo and Juliet in 1968, was at the helm for this offering. It's available at Amazon: http://www.amazon.com/Hamlet-Mel-Gibson/dp/B00019072G/ref=sr_1_1?ie=UTF8&qid=1319060818&sr=8-1

Kenneth Branagh's Hamlet is, along with the BBC version, the most faithful to the original text. Although not a commercial success, his 1996 version is well regarded. One can obtain further details here: http://www.amazon.com/William-Shakespeares-Hamlet-Two-Disc-Special/dp/B00005JLCI/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1319060904&sr=1-1

Updated to modern-day Manhattan, Ethan Hawke's Hamlet  (2000) finds the tormented soul pitted against the barons of corporate America. Bill Murray and Kyle MacLachlan also star.
http://www.amazon.com/Hamlet-Ethan-Hawke/dp/B00004Z4RP/ref=sr_1_2?ie=UTF8&qid=1319061369&sr=8-2

For something even more unorthodox, Akira Kurosawa, who many believe gave us the ultimate in King Lear with Ran (1985) and Macbeth with Throne of Blood (1957), also gave a modern take on Hamlet with a corporate setting. This film is known as The Bad Sleep Well and is available at Amazon as well: http://www.amazon.com/Bad-Sleep-Well-Criterion-Collection/dp/B000BR6QCI/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1319061587&sr=1-1

Shakespeare Marathon, Part VI: Cymbeline

Pre-Saxon Britain, Roman incursions, cross-dressing, banishment, friendship betrayed.....these are all elements of Cymbeline, an under-performed work by Shakespeare. Cymbeline has been the sixth work by Shakespeare I have taken on in sequence since beginning this quest over a week ago. What has not accompanied this reading has been a viewing of a cinematic adaptation. Unfortunately, as is the case with several of the Bard's lesser romances, adaptations are sparse. Once again, I will have to resort to the BBC to see enacted what I have just finished reading.

Cymbeline is reminiscent of As You Like It owing to the following features: female disguised as male, banishment from the king's demesne and joyous reunion at last. The story concerns the Celtic king Cymbeline, who is based upon Cunobelinus. The king's daughter Imogen is loved by Posthumus, who is sent into exile by the king upon his discovery that the youth has married his daughter. Posthumus, while estranged from his true love, enters into a wager with the amoral Iachimo, who professes his capacity for seducing the true love of the forlorn young man. Hoodwinked by Iachimo, Posthumus arranges for his man-servant Pisanio to murder Imogen. Pisanio, gentle of heart, is unable to carry out the deed and allows Imogen to flee whilst disguised as a boy. Hiding in the hinterlands of her country, Imogen is taken in by Belarius, a former confederate of Cymbeline who was unjustly banished years prior. Belarius is the guardian of the two sons of Cymbeline, whom he took as his own, leaving the king unaware of their fates. As Britain is unsuccessfully invaded once again by Rome, the principals find themselves united in a most unlikely fashion leading to an ultimately peaceful resolution.

This entry into the marathon will be revised as soon as I have the chance to take in the BBC production of the play and finally see it dramatized.

Shakespeare Marathon, Part V: Coriolanus

Haughtiness in any elected official is, even if the statesman in question possesses both valor and acuity of thought, the easiest way for him to be disenfranchised by those to whom he owes his office. Nowhere is this more evident than in today's political landscape where a politician's ability to conceal any element of the patrician is to his advantage. Of course, the current situation had its antecedents in the political life of ancient society. Nowhere is this more visible than in Shakespeare's handling of the subject of one man's disdain for hoi polloi and the inevitable consequences of such scorn. The Shakespearean work in question is, of course, Coriolanus, an oft-neglected work that has been eclipsed by so many other treatments of hubris and its baneful by-products.

Cinematic adaptations of Coriolanus are practically non-existent, save for the ever-reliable BBC series to which I owe a great debt. The paucity of filmed portrayals is one reason for me to rejoice at the news that Ralph Fiennes will debut his screen version in January of 2012.

For now, I remain beholden to the British Broadcasting Company and their decision to undertake the filming of all the works within the folio. This was a seven-year project and offered viewers the opportunity to see the Bard's words enacted by a disparate cast of actors including Cyril Cusack, Phil Daniels, Anthony Hopkins, Helen Mirren and several others of note. Although the limitations of the series are evident even to the casual observer, it is a project of considerable merit and likely to keep Bardolatry alive for some time.

The next step in this marathon of sorts will be Cymbeline, and for that I am going to reacquaint myself with Imogen and Cloten and several others before watching its cinematic treatment.

Shakespeare Marathon, Part IV: The Comedy of Errors

Accessibility and brevity are paired in The Comedy of Errors; thus, the play has gained favor even among those who find many of the Bard's works daunting. The ribald humor, along with the riotous interaction among the two sets of twins, has made The Comedy of Errors deservedly popular throughout the ages.

Cinematic adaptations of The Comedy of Errors are hardly numerous, particularly when one compares it to Macbeth, Hamlet, Richard III, Romeo and Juliet or King Lear. What is on offer are the musical adaptation entitled The Boys from Syracuse and the literal adaptation by the BBC from 1983.

Two nights ago I had the good fortune to find myself alone with The Complete Works of Shakespeare, a volume I had purchased in Seoul back in 1997 and have kept by my side ever since. Alone with the massive tome, I found myself reading Shakespeare's shortest dramatic work. Wishing to see the witty repartee brought to life, I sought out the BBC adaptation on my university library's website.

The BBC adaptation is typical of the series: scaled-down sets that vary little from theatrical productions, a host of well-known British talent and a dedication to a pure representation of the work itself. The BBC adaptations have been derided as "anachronistic" and "unimaginative" in an era where Romeo and Juliet has been transported to 20th-century Los Angeles, King Lear has been set in medieval Japan and Titus Andronicus is delivered within a setting that features a peculiar juxtaposition of modernity and primitive barbarism.

To the purist, the BBC adaptations are a valuable resource. One element that may counter the sensibilities of the purist is the casting of the rock icon Roger Daltrey in the part of Dromio. Daltrey, although not particularly luminescent in the role, does acquit himself as a comedic actor. Here we see him ably portray the hapless buffoon Dromio, who is subjected to the cruel caprices of his master Antipholus, played here by Michael Kitchen. Familiar faces are, of course, Cyril Cusack in a genuinely moving performance as the condemned Aegeon and Charles Gray as Solinus. An impressive turn is given by Joanne Pearce in the role of Luciana, who is coveted by Antipholus of Syracuse. Ms. Pearce portrays well both her indignation and presumed flattery as she is wooed by the man she believes is her brother-in-law. Suzanne Bertish stands out as the wife of Antipholus who, as is the case with the principals, is woefully unaware of the farcical situation unfurling until the very end.

Many may seek out something more elaborate than this 1983 production, but it is a good point of reference for those who wish to see Shakespeare free from the transpositions his work undergoes so frequently.

Shakespeare Marathon, part III: As You Like It

Profiting from the solitude night often affords me, I found myself watching As You Like It without interruption only hours ago. In addition to the advantage of temporary desolation, I also benefit from the fact that the BBC productions of Shakespeare (with captioning!) are available to ASU students through the on-line library catalogue.

So began my third night in the race to re-acquaint myself with the Bard. What I do so love about the BBC productions, despite the limits within which they were required to work, is that they are the most faithful adaptations of Shakespeare's works. One could say that he has read Shakespeare if he has watched a captioned version of his works from this series. No deviation from the original have I found at this time.

Last night gave me my opportunity to watch As You Like It. What made this production stand out from the others was the appearance of Dame Helen Mirren as Rosalind in the 1978 televised play. Both as ingenue and schemer, the young Mirren succeeded admirably. One regret is that neither my attention span nor my ability to stay awake afforded me the chance to see the 1936 film version starring Laurence Olivier. This film is available freely on Youtube and will be part of my collection.

So, far, three days and three Shakespearean plays. Next on the list is The Comedy of Errors.

Shakespeare Marathon, Part II: (Watching/Reading Antony & Cleopatra)

One minor misfortune has befallen me as I attempt to take on every play by Shakespeare via the cinematic treatment. This bit of bad luck is the fact that I cannot access the 1972 television adaptation of Antony & Cleopatra starring Charlton Heston. Normally, one does not associate Heston with Shakespeare, but I was looking forward for a bit of an escape from a series that, while admirable, can be a bit confining. That series, of course, is the BBC Shakespeare.

So, I have spent the latter part of this evening enjoying the 171-minute spectacle and eagerly anticipate tomorrow's screening of As You Like It. Not only do I have the BBC option, but an Internet search has revealed that a 1936 film adaptation starring Olivier is freely available on youtube.

Shakespeare Marathon, Part I: Read/See Every Shakespearean Play ("All's Well that Ends Well")

An acquaintance of mine, who was also a devotee of Shakespeare, once expressed that those who quickly forget Shakespearean comedy have no reason to be ashamed. His reasoning was that of the canon, it is mainly the histories and the tragedies that should be retained. Familiarity with the comedies is beneficial, he opined, but far from essential. Such a viewpoint is bound to meet with reservations. Although Hamlet, Macbeth, Henry V, Julius Caesar, King Lear, Romeo and Juliet and Othello are essential for anyone of any cultural attainment, comedies cannot be relegated to a wholly inferior status. The macabre spectacle of Titus Andronicus is certainly lesser than the comedic offerings such as The Taming of the Shrew or any of Shakespeare's more whimsical comedies for that matter.

The categorizations themselves have been problematic in regards to Shakespeare. The extent to which the histories of Shakespeare have been based on actual history is a contentious issue, for example. One debate regarding the classification of his plays arises with the work All's Well that Ends Well. Normally classified as a comedy, some have taken the stance that its designation represents a problem owing to the melancholic elements of the work itself. All's Well that Ends Well chronicles the yearnings of young Helena, daughter to the famed court physician. The young man longs for Bertram, a man of higher birth, but is prevented from attaining her desires owing to class differences. Upon healing the king of his lingering malady, she is rewarded with her choice of husband; thus, Bertram is selected to fill this role. The young man, feeling entrapped, flees and is ensnared back into union with the woman he had rejected. Thus, the denouement cannot necessarily be considered a genuinely happy ending as the ultimate desires of Bertram do not seem to be in accordance with matrimony to Helena.

The reason for my choice of All's Well that Ends Well as my first selection in this Shakespearean "marathon" is a prosaic one: it's the first in line in an alphabetical listing and it is an easily penetrable work. My goal for this marathon of sorts is to read each play and enjoy at least one representation of the written word. For this, no greater service has been provided than that of the BBC who, from the late 1970s to the early 1980s, dramatized each work, many of them to widespread acclaim. All's Well that Ends Well, unlike so many of Shakespeare's plays is not given to frequent film adaptations; in fact, scouring imdb for such depictions proved almost desultory. All that was on offer was what the ever-reliable BBC could provide. For this I am grateful and last night I enjoyed over two and a half hours of finely acted Shakespearean comedy.

It is a pity that there are not more cinematic resources for this particular work as the role of Countess Rousillon is one that is indeed multifaceted and would be so worthy of many elder actresses of the British screen, particularly Judi Dench or Claire Bloom. Even G.B. Shaw, a notably acerbic critic of Shakespeare, expressed his admiration for the richness of the part itself. Perhaps in the near future we will have a definitive screen adaptation of the comedy. For now, we will have to settle for the BBC's version and that is far from disappointing.