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Month: October 2023

King Lear (1970)

King Lear (1970)

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“Nothing will come of nothing; speak again.”

Synopsis:
When an aging king (Paul Scofield) attempts to divide his kingdom amongst his three daughters — Goneril (Irene Worth), Regan (Susan Engel), and Cordelia (Anne-Lise Gabold) — based on their purported love for him, he quickly discovers that their loyalties are not what he expected; meanwhile, his friend the Duke of Gloucester (Alan Webb) experiences filial issues of his own, as his “bastard” son Edmund (Ian Hogg) seeks vengeance against his half-brother Edgar (Robert Lloyd).

Genres, Themes, Actors, and Directors:

  • Family Problems
  • Grown Children
  • Inheritance
  • Paul Scofield Films
  • Peter Brook Films
  • Royalty and Nobility
  • Shakespeare

Review:
Peter Brook adapted his acclaimed 1962 Royal Shakespeare Theatre production of King Lear into this b&w cinematic rendition, once again starring Scofield in the title role, Worth as Goneril, Webb as Gloucester, and Tom Fleming as the Earl of Kent. Set in a bleak Danish landscape (it was partially filmed in the peninsula of Jutland and the sand dune of Råbjerg Mile), it’s highly atmospheric:

… but challenging to follow if you’re not already familiar with the complex storyline and its players (which involves not just King Lear and his daughters and their romantic interests, but the parallel story with Gloucester and his sons).

Indeed, as I started watching, I took plenty of pauses to refresh my own memory (it’s been many years since I read this play), and was pleased to stumble upon Good Tickle Brain’s stick figure overview, which clarified everything — including how many scenes and tidbits were (likely by necessity) cut.

With that said, Scofield and the rest of the cast are all appropriately brooding for such a brutal tragedy:

… in which (thank you again, Good Tickle Brain) the ultimate dead count is 10 out of 12, on top of a hideous eye-gouging. (“Out, vile jelly! Where is thy luster now?”) With all that said, I’m a fan of Brook’s cinematic style and was visually engaged throughout — so those interested in his work, or Scofield, will certainly want to check it out.

Notable Performances, Qualities, and Moments:

  • Paul Scofield as King Lear
  • Fine performances by the supporting cast
  • Atmospheric direction and cinematography

Must See?
No, but it’s recommended. Listed as a film with Historical Importance in the back of Peary’s book.

Links:

Marat / Sade (1967)

Marat / Sade (1967)

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“We’re all normal and want our freedom!”

Synopsis:
In a French mental asylum, the Marquis de Sade (Patrick Magee) stages a production of events that happened 15 years earlier: Charlotte Corday (Glenda Jackson) attempts to assassinate Revolutionary hero Jean-Paul Marat (Ian Richardson) while he’s taking a bath.

Genres, Themes, Actors, and Directors:

  • Assassination
  • French Revolution
  • Glenda Jackson Films
  • Mental Illness
  • Peter Brook Films
  • Play Adaptations

Review:
Formally titled The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade, this adaptation of Peter Weiss’s 1963 play (originally in German) was directed by Peter Brook, who also directed the three leads in the Tony-winning Broadway production. It’s most definitely a literate movie — meaning, those who understand the multiple layers behind its historical play-within-a-play will best appreciate it — but it actually stays remarkably engaging and visually arresting given that it takes place exclusively within one setting: an asylum.

Richardson is appropriately haunting as a man who spent the majority of his final three years soaking in a tub to deal with a debilitating skin disease:

… while Magee — perhaps best recognized by film fanatics for his supporting role in A Clockwork Orange (1971) — manages to convey de Sade’s intensity and perversion without hysteria:

… and Jackson shows her star potential in a crucial, tricky role. While this film is most certainly not for all tastes, it’s well worth viewing — particularly given Brook’s relatively small overall cinematic output.

Notable Performances, Qualities, and Moments:

  • Glenda Jackson as Charlotte Corday
  • Patrick Magee as the Marquis de Sade
  • Ian Richardson as Jean-Paul Marat
  • David Watkin’s cinematography


Must See?
Yes, as a unique adaptation of a most unique play. Listed as a film with Historical Relevance and a Personal Recommendation in the back of Peary’s book.

Categories

  • Historically Relevant

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