Henry V (1944).

Review #1788: Henry V.

Cast: 

Laurence Olivier (King Henry V of England), Renée Asherson (Princess Katherine), Robert Newton (Ancient Pistol), Leslie Banks (the Chorus), Felix Aylmer (the Archbishop of Canterbury), Robert Helpmann (the Bishop of Ely), Vernon Greeves (The English Herald), Gerald Case (the Earl of Westmoreland), Griffith Jones (the Earl of Salisbury), Morland Graham (Sir Thomas Erpingham), Nicholas Hannen (the Duke of Exeter), Michael Warre (the Duke of Gloucester), Ralph Truman (Mountjoy, The French Herald), Ernest Thesiger (Duke of Berri, French Ambassador), Frederick Cooper (Corporal Nym), Roy Emerton (Lieutenant Bardolph), Freda Jackson (Mistress Quickly), George Cole (the Boy), George Robey (Sir John Falstaff), Harcourt Williams (King Charles VI of France), Russell Thorndike (the Duke of Bourbon), Leo Genn (The Constable of France), Francis Lister (the Duke of Orleans), Max Adrian (The Dauphin), Jonathan Field (The French Messenger), Esmond Knight (Fluellen, Welsh Captain in the English Army), Michael Shepley (Gower, Captain in the English Army), John Laurie (Jamy, Scottish Captain in the English Army), and Niall MacGinnis (MacMorris, Irish Captain in the English Army) Directed by Laurence Olivier.

Review: 

Admittedly, covering a war-time effort is an interesting story in talking about a film. Of course, we are talking about the directorial debut of one Laurence Olivier, who did five overall theatrical productions to go along with his more famous vocation as an actor. As one might expect, he started in the stage, specifically debuting as an actor for the All Saints Choir School at the age of nine. He dabbled in acting on numerous occasions as a growing child, and it was the encouragement of his father that led him to do the profession. He studied at the Central School of Dramatic Art before starting his professional line of work in theater in 1926 (doing so before he was even twenty). He added films to his line of work in 1930, but it wasn't until Wuthering Heights (1939) that he truly received international notice. He showed dedication to any craft he desired to do, whether as an actor or in the Royal Navy Fleet Air Arm when World War II approached. He took on theater operating afterwards, which included directing/starring in Shakespearian roles. We are also talking about the first adaptation of a William Shakespeare work that received wide-spread acclaim. Olivier was asked by BBC TV director Dalas Bower (a member of the Ministry of Information) if he could do a rendition of Henry V (written by William Shakespeare roughly around 1599) for film as part of boosting the morale of the public. Olivier had starred in As You Like It (1936), but he felt that it was a considerable challenge to make a film of a Shakespeare work (specifically with the Hollywood angle with directing actors for certain scenes with Shakespeare dialogue - that film along with A Midsummer Night's Dream (1935) and Romeo and Juliet (1936) were each considered flops). At any rate, Olivier stated that it was William Wyler who inspired him to direct the film himself, which would utilize England's lone Technicolor camera at the time (along with filming in Ireland for the battle and England studios...for the rest). Olivier received two of the four Academy Awards (the film was released in America in 1946), and he was rewarded with an Honorary Academy Award for his efforts in bringing the film to the screen. His next effort in Hamlet (1948) would be the first non-American film to win Best Picture and earn Olivier an Academy Award victory for acting (and producing). The next big effort to do the play into a film would not be done until 1989 by Kenneth Branagh, which received notice in its own right (as it contrasts this film with its own presentation of the material that was described as more realistic).

Certain aspects of the play were omitted, mostly in its presentation of the title character (who in one sequence in the play hanged a friend for crimes committed against the French); Olivier, alongside Dallas Bower and Alan Dent, did un-credited work in the writing in bringing Shakespeare's words to the screen. With its lavish sense of color and framing, it likely isn't a surprise that the film (eventually) was a noted international hit with audiences (one that would see the presentation of French royalty in this film as akin to certain current threats of the time), one that was set in both 1415-1420 and 1600, as it is presented as "THE Chronicle History of KING HENRY THE FIFTH with his battle fought at Agincourt in France BY Will Shakespeare" by a Chorus that tells its audience to let imaginary forces work to picture the production. It is all the things one might expect from 137 minutes of classic British cinema, warts and all. It is efficient in the ways intended with stirring passion for its subject matter that makes for a mostly grabbing effort from folks clearly interested in having Shakespeare resonate on the screen. Regardless of where it ranks in British cinema, it has a key place in entertainment value for its country. It is spectacle (with sweeping William Walton music) that grows on you, pure and simple. Olivier obviously was ready to direct a major motion picture along with act as its star, and he does so with confidence that builds through the film with brimming interest. He acts to the screen with the right timing that works for theatrical sensibility (i.e. it doesn't seem molded for only a stage), one with relentless drive that makes the whole experience (such as the St. Crispin Day speech) worth it. The rest of the cast have their own varying levels of presence, most notably with Leslie Banks as the Chorus or with the comic relief. As a whole, it is medieval pageantry that does what it is intended to in stoking the war effort that is both spectacle and curiosity without becoming dated or a Shakespearian misstep, acting dignified without becoming obstinate. It serves as a worthy debut for its actor/director/producer in all the ways, for what it is worth.

Next Time: Rome, Open City.

Overall, I give it 9 out of 10 stars.

Around the World in 80 Days.

Review #1393: Around the World in 80 Days.

Cast: 
David Niven (Phileas Fogg), Cantinflas (Passepartout), Shirley MacLaine (Princess Aouda), and Robert Newton (Inspector Fix), with appearances from Edward R. Murrow (Prologue narrator), Finlay Currie (Andrew Stuart), Robert Morley (Gauthier Ralph), Noël Coward (Roland Hesketh-Baggott), Sir John Gielgud (Foster), Charles Boyer (Monsieur Gasse), Sir Cedric Hardwicke (Sir Francis Cromarty), Melville Cooper (Mr. Talley), John Carradine (Col. Stamp Proctor of San Francisco), Jack Oakie (Captain of the SS Henrietta), in addition to Fernandel, Cesar Romero, Reginald Denny, Peter Lorre, George Raft, Red Skelton, Marlene Dietrich, Frank Sinatra, Buster Keaton, Col. Tim McCoy, Joe E. Brown, Andy Devine, and various others. Directed by Michael Anderson (#717 - Logan's Run)

Review: 
"Do not refer to Around the World in 80 Days as a movie. It's not a movie. Movies are something you can see in your neighborhood theatre and eat popcorn while you're watching them....Show Around the World in 80 Days almost exactly as you would present a Broadway show in your theatre."

It should only prove fitting that a film like this was meant to be treated as a major event for the masses, since this was an experience like no other for a decade that had plenty of spectacle to show in a time that desired entertainment that manage to receive accolades for itself. No expense would be spared in making such a monumental exercise of excess, with six million being spent for over 60,000 extras and 70,000 costumes made/rented alongside thousands of actors and plenty of miles traveled to show something to try and impress the viewer, which should only prove appropriate for its producer in Mike Todd. He worked in a variety of jobs after dropping out of high school, such as selling shoes, drugstore soda jerk, and construction businessman before eventually finding interest in Broadway in the late 1930s. Over the course of the next few years, Todd would produce several shows on the stage that ranged from burlesques to musical comedy revues to even an operetta. In the 1950s, he found himself involved with film when he got involved in getting behind Fred Wallers' widescreen process Cinerama, which was featured most notably with This is Cinerama (1952). He soon moved to another venture involving a widescreen process that would bore his name in Todd-AO with Robert Naify in 1953, which would become a theater sound leader for films in the next few decades that simplified its setup to one camera and lens, with the Todd-AO widescreen process being debuted in Oklahoma! (1955).  Todd would reap plenty of benefits from producing this film, winning an Academy Award for Best Picture to go along with four other awards for color cinematography, editing, scoring, and adapted screenplay (which had three writers, including John Farrow, who directed a bit of footage before quitting). Tragically, Todd would die just two years after the film's release in a plane crash at the age of 48.

This was based off Jules Verne's 1872 novel of the same name, which has been adapted to several forms of media alongside film over the past century. Interestingly enough, this film begins by showing snippets from another adaptation of a Jules Verne work in A Trip to the Moon (1902), likely one of the most influential films of its time from noted director Georges Méliès. Both do a fine job when it comes to showing a sense of wonder and imagination, this much is true. In the case of Todd's production, he surely wanted to keep people's attention for 182 minutes with a travelogue around the world that is worth one look for the curiosity of it all, particularly whether to see if it has lost any of its luster to time, which does sometimes seem the case. One cannot deny that Niven and Cantinflas do a tremendous job together, inspiring curiosity and humor at times when together. Niven does his part with the type of dignity and composure that one enjoys for an adventure. Cantinflas, a Mexican icon for comedy then as now, proves to be quite amusing with his antics, such as when gets into a bullfight (as performed by the actor himself). MacLaine (in her third role of her film career) shows up somewhere in the middle of all this, and she nearly becomes lost with all theses presences around, where Newton's bluster proves effective as a foil to all of this. One may very well play a game of spot-the-international star when trying to pass the time when it seems the film is flying up its own ego, whether that means a wordless piano performance from Sinatra or hammy times with Raft and Carradine or one-shot turns like Lorre or Keaton, where half don't even have names to go with their "role", although at least it is nice to see Hardwicke and Gielgud. The film is nice to look upon at times, whether through a costume or some scenery to view upon. It is a film aiming for light-heart entertainment that succeeds on fair craftsmanship in the parts that matter without becoming a complete shell of arrogance that could kill a more pompous ambition. Adventures like this can be fun if one is in the mood for what it is trying to sell and have three hours to spend with spectacle.

Overall, I give it 7 out of 10 stars.