Enrico V

Excellent return to Shakespeare's young King Henry with 28 year old Branagh perfectly filling the shoes Olivier tried so hard to fill 40 plus years before. Branagh, who also directed, brings the film to life with exciting battle scenes, a first rate supporting cast that features the fine Shakespearean veteran Jacobi as the Chorus. Also with Holm, Bannen, the always reliable Brian Blessed and Emma Thompson. The story is better told and moves about at a much better pace than previous Shakespeare films. Branagh started an incredible trend with this film. (Much Ado About Nothing, Hamlet, Othello) He was Oscar nominated as Actor and Director for his work here. The film won for Costuming.

This film surely must be in the frame for a number of best ever categories - best Shakespeare film adaptation, one of the best ever war films AND one of the best ever performances by a male actor. It's truly stunning to see how Shakespeare's words, which seemed dull and difficult to understand at school, can be spoken as passages of such depth, beauty and power. Not one in a thousand actors could do this convincingly - but Kenneth Branagh can.

I think this far outshines the Olivier version from 1944 (very good though that was). Branagh convinces (where Olivier does not always) as he gives a wider range of emotional responses to Henry - self questioning, compassionate, sad at the harsh realities of life. You can really believe that here is a young man who used to be a playboy now faced with having to grow up and behave as a king of England. As others have said, he gives such fire and charisma to the battle speeches that you want to march straight into battle yourself! And importantly, Branagh also convinces utterly in the romantic wooing of the French princess.

Naturally enough, the film focuses on the main actor playing Henry, but the supporting actors are also excellent. Derek Jacobi, particularly, does wonderfully in a difficult role. If I had to give one very slight caveat however, it would be that Emma Thompson (who I love as an actress), does not quite convince as a native French speaker, though she makes a good try at speaking the language rapidly. Perhaps Juliette Binoche would have been better here? But overall the obvious rapport between Branagh and Thompson (who were married at the time) is more important than any slight problems with the accent.

The only Shakespeare performance that tops this movie is seeing Branagh give a live performance on stage - I was privileged to see him (with Emma Thompson) perform Much Ado About Nothing in the late 1980s, and that's still the best I've ever seen.

Don't just see this - buy or record a copy. If you see it once, you will most likely want to see it over and over! 10/10

The unique think about this film is that there aren't any weak performance amongst any of the actors, however small their role.

One actor I feels merits a mention is Christopher Ravenscroft for his portrayal of the French Herald, Mountjoy. He plays a key part in this ply as the only character who meets both English and French leaders until after the battle.

His shock and awe in the tennis balls scene when her realises that Henry isn't a silly young man is terrific.

Great film. I've got on video and watch two or three times a year. My teenage sons were gripped by it. This is the way to introduce teenagers to Shakespeare.

Catherine

Let's get one thing straight: It was Olivier who finally cracked the concrete heads of film producers open and proved that it was possible to put the bard of bards on screen without even an American audience falling asleep after 10 minutes. Sure, after all this time his Henry looks ancient, pretentious and artificial, but so will Blade Runner after 50 years, and still both mark a watershed after which none could be done like anything before. Odd comparisons? Maybe. But fitting.

Branagh's Henry finally set a tone worth to succeed the initial awesome blast unleashed by the most powerful actor for generations, and I'm sure Branagh would be the last to deny Olivier's version the place it deserves in British movie history. Times were ripe for another tone - but times before had needed Olivier as much as the following ages will need Branagh.

I'm an obsessive fan of both versions - both for entirely different reasons - and both merging perfectly what I love most about Shakespeare's eternal works.

Branagh's film is timeless - of this time - without ever being trendy. Olivier's is timeless - as well as of its time - as long as we keep an understanding of its time.

Olivier praised the eternal flame, the eternal smell, of Shakesperean theater, as always reaching far beyond the confinds of its subject - beyond the confinds of the wooden circle of 'The Globe'.

Branagh went right for the jugular, without ever loosing grip on what makes this play a play beyond its subject, and THE play about that subject.

Has anyone considered the vital difference between Branagh's and Olivier's versions? I doubt it. Where Olivier conjured up the intoxicating smell of fresh 15th century glue from the sets rising into the audience's noses, come here straight from the bear fights, whore houses, sermons of zealots and whatever had to flee London's stern moral walls of those times, Branagh cut right to the bone of any hardened 'modern' movie goer.

Behold: Derek Jacoby's prologue is a piece of speech which will forever haunt, enchant and cover me in goosebumps - firing me up to see what comes as well as see what Olivier as well as Branagh had done with the only play ever to merge humanity's lust as well as dread for the subject of war.

Of course, Olivier's version couldn't even dream of matching the intimate intensity of Branagh's. But how could it?

Ok, I won't further dwell on it, but for the last time, consider the father to fully understand the son.

Now, having shed the overpowering shadows of the past, Derek Jacoby steps into the dark of the expecting stage - striking a match...,

"Oh, for the muse of fire..." ... and off we are, lured into the torrent of the bard's unique and eternal magic.

I consider Henry V the best of Branagh's Shakespeare adaptations, even though I wouldn't want to be with any of the others on pain of death. This one's flawless, perfectly cast, perfectly executed and perfectly acted by Branagh himself.

From Burbage to Garrick to Keane to Inving to Olivier to Branagh... it is a glorious lineage to follow in love and admiration for the bard of Bard's ambassadors.



Schogger13

When this movie was first released, I was living in Memphis, Tennessee, not exactly the most cine-literate city in the world, and it was only showing at one theatre in town- luckily, it was right next door to where I worked. I decided to see the late show one night after work, and was so totally blown away that I saw it every night for the next four days, in one case even getting off work early to catch it. As the first directorial outing for Kenneth Branagh, it must surely rank among the most impressive directorial debuts in history. I don't feel that I'd be overstating my point to say that not since Orson Welles' "Citizen Kane" was a directorial debut so impressive. From Derek Jacobi's brilliant opening soliloquy as The Chorus to the climactic battle sequence and the following sequence of King Henry's surveying of the carnage on the battlefield, this is a film that never lags, owing to Branagh's willingness to excise certain sequences that don't translate well to film- a move that Olivier was unwilling to make for his production of Henry V back in the 40's. This film totally altered the way I thought of Shakespeare- I went from looking at a Shakespearean work as being full of literary merit, but of dubious entertainment value. However, after this film, and followed soon after by "Hamlet" with Mel Gibson and "Prospero's Books" with Sir John Gielgud, I came to realize the full entertainment value of Shakespearean story, long before the recent Shakespeare explosion brought on by the Romeo and Juliet music video with Leonardo DeCaprio.