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IMDbPro

Riccardo III

Titolo originale: Richard III
  • 1995
  • R
  • 1h 44min
VALUTAZIONE IMDb
7,3/10
16.061
LA TUA VALUTAZIONE
Robert Downey Jr., Annette Bening, and Ian McKellen in Riccardo III (1995)
The classic Shakespearean play about the murderously scheming 15th-century king is reimagined in an alternative setting of 1930s England as clouds of fascism gather.
Riproduci trailer3: 00
1 video
43 foto
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La classica commedia shakespeariana sul re del XV secolo è ricreato in un ambiente alternativo dell'Inghilterra del 1930, mentre le nuvole del fascismo si addensano.La classica commedia shakespeariana sul re del XV secolo è ricreato in un ambiente alternativo dell'Inghilterra del 1930, mentre le nuvole del fascismo si addensano.La classica commedia shakespeariana sul re del XV secolo è ricreato in un ambiente alternativo dell'Inghilterra del 1930, mentre le nuvole del fascismo si addensano.

  • Regia
    • Richard Loncraine
  • Sceneggiatura
    • Ian McKellen
    • Richard Loncraine
    • Richard Eyre
  • Star
    • Ian McKellen
    • Annette Bening
    • Christopher Bowen
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    7,3/10
    16.061
    LA TUA VALUTAZIONE
    • Regia
      • Richard Loncraine
    • Sceneggiatura
      • Ian McKellen
      • Richard Loncraine
      • Richard Eyre
    • Star
      • Ian McKellen
      • Annette Bening
      • Christopher Bowen
    • 102Recensioni degli utenti
    • 48Recensioni della critica
    • 86Metascore
  • Vedi le informazioni sulla produzione su IMDbPro
    • Candidato a 2 Oscar
      • 7 vittorie e 12 candidature totali

    Video1

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    Foto43

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    Interpreti principali33

    Modifica
    Ian McKellen
    Ian McKellen
    • Richard III - Duke of Gloucester
    Annette Bening
    Annette Bening
    • Queen Elizabeth
    Christopher Bowen
    Christopher Bowen
    • Prince Edward of Lancaster
    Edward Jewesbury
    Edward Jewesbury
    • King Henry VI
    Bill Paterson
    Bill Paterson
    • Ratcliffe
    Matthew Groom
    • Young Prince Richard of York
    John Wood
    John Wood
    • King Edward IV
    Nigel Hawthorne
    Nigel Hawthorne
    • Duke of Clarence
    Maggie Smith
    Maggie Smith
    • Duchess of York
    Kate Steavenson-Payne
    Kate Steavenson-Payne
    • Princess Elizabeth of York
    Robert Downey Jr.
    Robert Downey Jr.
    • Lord Rivers
    Tres Hanley
    Tres Hanley
    • Air Hostess
    Tim McInnerny
    Tim McInnerny
    • Catesby
    Stacey Kent
    • Ballroom Singer
    Jim Carter
    Jim Carter
    • Lord William Hastings
    Roger Hammond
    Roger Hammond
    • Archbishop
    Denis Lill
    Denis Lill
    • Lord Mayor of London
    • (as Dennis Lill)
    Jim Broadbent
    Jim Broadbent
    • Buckingham
    • Regia
      • Richard Loncraine
    • Sceneggiatura
      • Ian McKellen
      • Richard Loncraine
      • Richard Eyre
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti102

    7,316K
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    Recensioni in evidenza

    7mstomaso

    Shakespearean tragedy in 1940s Europe

    This film sets Shakespeare's Richard III in an alternative to WWII era England, where fascists and royalists maintain their own militias and play power games with kings and thrones. The first scene sets the tone for the entire film. A young officer is settling down to dinner with his dog chewing on a bone nearby. The building begins to shake and a low rumbling is heard. Soon enough, a tank erupts through the fireplace and stormtroopers charge in automatic rifles ablaze. Ian McKellan removes his gas mask and spouts a few lines of Shakespearean dialog.

    The action and the intrigue never really let up, as the film follows Richard's (McKellan) rise to infamy and power. Neither does the Shakespearean dialog. Somehow the cast manages to make the dialog fit the action and setting effortlessly.

    Richard III is jarringly strange - perhaps the most innovative of the recent Shakespeare updates - very well acted and directed. Although I recommend the film, I have to warn you - it's not for everyone.
    10OttoVonB

    Justice made to Richard III

    "Richard III" may not have the all-encompassing understanding of uman nature seen in "Hamlet" or the grace and mastery of "The Tempest", but for my money is one of the greatest plays ever written and certainly Shakespeare's most entertaining.

    It may be lacking in character development and psychology, but it more than makes up for that with a brilliant concept: have the villain as main character and make the audience his playful confident. The concept is aided further by eminently quotable lines and one great scene after the other of scheming, fiendishness and confrontations. One of the few pieces of criticism you can successfully throw at Shakespeare is that his central characters are often meek or feeble. Not so here! Tudor propaganda this might have been (it quite grotesquely disregards historical fact in a few places), this is storytelling at its finest.

    Richard Loncraine's 1995 film places the story in a fictitious 30s England reminiscent of early Nazi Germany. The device serves to make the proceedings more accessible (if only marginally since the original language has thankfully been preserved). It also makes for amusing situations (Richard of York telling his monologue while taking a leak in a public restroom - "my Kingdom for a Horse!" bellowed from a paralyzed jeep) and serves as further proof of the Bard's timelessness.

    Beyond the structural and technical feats - and they are quite excellent without exception, including Trevor Jones underrated dark jazzy score - lies what should be our main concern: the cast. Sir Ian McKellen as Richard is a Machiavellian wonder, blowing both Lawrence Olivier's rendition and McKellen's earlier work away. His fiendish creation is a joy to watch and root for, despite the increasing gruesomeness of his crimes. The byzantine plot demands that recognizable faces be cast in supporting roles and the characters are magnificently portrayed by eminent actors giving it their best and succeeding admirably. Maggie Smith, Jim Broadbent and Kristin Scott-Thomas are expectedly great, but the truly outstanding supporting performances come as surprises: Annette Benning is all grief and fury, Adrian Dunbar is eerie yet very human as Richard's pet killer Tyrell and Nigel Hawthorne is incredibly moving as the meek Clarence. Even Robert Downey Jr. manages to hold his own against this impressive array of actors.

    All in all if you can appreciate the language (that only gets better with repeated readings/viewings) and have a thirst for fine acting, it would be criminal to ignore this masterpiece.
    escoheag

    Exceptional performances enhance timeless themes.

    Many productions throughout the years have presented Shakespeare in updated formats in order to make his plays more

    contemporary with varying results. This production is one of the

    most successful. Sir Ian McKellan's extraordinary performance

    makes his character, although thoroughly self-serving, incredibly

    magnetic. The film is enhanced by many other exceptional

    performances, most notably by Robert Downey Jr., Jim Broadbent

    and Kristin Scott Thomas. The setting makes the story more

    realistic to modern viewers, which helps it to avoid the stiff, stagy

    quality seen in most productions of this work. Making

    Shakespeare more accessible to today's viewers without

    butchering his amazing language is no mean feat, but this film

    accomplishes it handily.
    JMartin-2

    An unfairly maligned interpretation

    From the very first Shakespeare film (a silent version of "King John," of all things), filmmakers have sought to impose their own unique visions on Shakespeare; in the case of "King John," it was fairly simple (a scene of John signing the Magna Carta, which isn't in Shakespeare's play). Ever since, Shakespeare adaptations have faced the difficulty of remaining true to the greatest writer in the history of the English language while bringing something new to the table; filmed plays, after all, belong on PBS, not in the cinema.

    Luckily, the minds behind this adaptation of "Richard III" is more than up to the challenge. To be fair, putting the movie in an alternate 1930's Fascist England doesn't serve the sort of lofty purpose that, say, Orson Welles' 1930s updating of "Julius Caesar" (intended to condemn the Fascist governments in Europe at that time) did. What it does do is allow the filmmakers to have a lot of fun. It's not necessarily more accessible -- the Byzantine intrigues and occasionally confusing plot can't be tempered by simply moving the setting ahead 500 years -- but it's definitely more entertaining. There's just something inherently amusing about Richard sneaking off for a pee after the "winter of our discontent" speech (still rambling on as he, ahem, drains the main), or giving the "my kingdom for a horse!" bit while trying to get his Jeep out of the mud.

    To be sure, the Fascist England shown in the film isn't very convicing -- from OUR historical hindsight -- but this isn't our world, this is a world fashioned from the imagination that just happens to look like our own, just as Shakespeare's were. You can't criticize "King Lear" for its faux-historical setting any more than you can criticize this film for the same reason.

    The complaint registered by a previous commentator -- more or less, "if you're going to move Shakespeare to a new period, you need to be true to that period" -- is utter bollocks, really. After all, it is inherently "untrue" to have people running around speaking Elizabethan dialogue in the 1700s, 1800s, 1900s, etc., so if you try to remain "true," you end up stripping away the dialogue -- the very essence of Shakespeare. I agree with the even more controversial Shakesperean theatre director Peter Sellars in that words are not what makes Shakespeare great, but rather his characters and ideas. But Shakespeare communicated those through his words, and if you change them, it's not Shakespeare anymore. The same commentator pointed to Branagh's more faithful interpretations as a counterweight to this film, yet Branagh's "Hamlet" is not only set in the 18th century but in a country that looks nothing like 1700s Denmark, even though the characters refer to it as such.

    The complaints about McKellen's "hamminess" are equally unfounded. What are they using as their basis of comparision? Olivier? Olivier's Richard makes McKellen's look positively restrained by comparision. Richard is egotistical, bombastic, and prone to spouting lines like "thine eyes, sweet lady, have infected mine." I have little doubt in my mind that Skakespeare did not intend Richard to be played "straight" -- indeed, if Shakespeare had any concept of what we call "camp," he was probably thinking of it when he wrote the play. From this point of view, the "silly" little touches like the Al Jolson song at the end and even the newsreel of Richard's coronation fit in perfectly.

    As with most Shakespeare films, the plot has been streamlined -- nearly all of the characters are here, but scenes and speeches have been truncated and removed, but despite what some have said, these aren't fatal to the plot or the characters. Richard's seduction of Anne does seem to occur to quickly, but it's not a completely successful one, seeing how she lapses into drug addiction later in the film. Besides, Richard's evil has nothing to do with the fact that his "inability to experience romantic love." Richard isn't a psychological portrait like Hamlet, he's a ruthless bastard, a piece of Tudor propaganda. When people praise "Richard III" (the play), it's not for its character depth.

    I notice I've focused more on answering the film's detractors instead of dilineating its merits; in a way, I guess this expresses how much I like it. The cinematography, direction, and acting are all top-notch. The sets are perfect, once you realize that this is NOT historical England -- the power plant subbing for the Tower is more imposing than the real thing could ever be, and the factory ruins that serve as Bosworth Field are certainly more interested than a bunch of tanks and Jeeps roaming around the open countryside. Shakespeare purists will, of course, hate it, but then they hate anyone who dares to put anything more than a cosmetic spin on the Bard, be it Welles' "Voodoo 'Macbeth'" or Brook's stage production of "Titus Andronicus." For everyone else, read the play, then see the movie -- it'll help increase your appreciation of both.
    9dromasca

    Original, Brilliant Richard

    This is one of the movies you remember for a long time - and for all the good reasons. Transplanting Shakespeare in a different time and giving his historical plots a modern political sense is not such a new idea. What is really strong and works well here is the perfect fit between the characters as Shakespeare intended them and the background which is so different from the original historical one. Each one of the characters is both shakespearian as intended, a perfect citizen of the fictional time created by the director - a fascist England in the 30s - and more than everything else a human being: sensual, hating and loving as only humans do.

    Perfectly acted, almost flawlessly directed, with very little overweight, this film is a feast for the intelligent spectator, a brutal, well-paced and expressive piece of art - and exactly as Shakespeare would have loved it, a mirror of his time, of our time, and of any time. 9/10 on my personal scale.

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    Trama

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    Lo sapevi?

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    • Quiz
      Sir Ian McKellen enjoyed acting with Robert Downey Jr. in Restoration - Il peccato e il castigo (1995), and asked him to play the part of Lord Rivers, expecting him to turn the role down as too small. To McKellen's surprise, Downey immediately cleared his diary, and took the part.
    • Blooper
      This is not a historical drama, nor a biopic. It is an allegory which mixes and unsolved murders from the 1480s with costumes and customs from the 1930s, to make an artistic statement about the similarities between these two eras. While the movie portrays several historical figures, they are not intended to perfectly resemble their real-life counterparts, and their words and actions are never claimed to be what the real people said and did.
    • Citazioni

      Richard: Why, I can smile... And murder while I smile!

    • Versioni alternative
      The UK (video) release has the cast credits in order of appearance.
    • Connessioni
      Featured in 53rd Annual Golden Globe Awards (1996)
    • Colonne sonore
      Come Live With Me
      Paraphrased from "The Passionate Shepherd to his Love,(1599)" by Christopher Marlowe

      Performed by Stacey Kent and Vile Bodies

      Music composed by Trevor Jones

      Arranged by Colin Good

      Published by EMI Music Publishing Ltd.

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    Dettagli

    Modifica
    • Data di uscita
      • 18 aprile 1996 (Italia)
    • Paesi di origine
      • Regno Unito
      • Stati Uniti
    • Lingua
      • Inglese
    • Celebre anche come
      • Richard III
    • Luoghi delle riprese
      • Battersea Power Station, 21 Circus Road West, Nine Elms, London, Greater London, Inghilterra, Regno Unito(final scenes)
    • Aziende produttrici
      • Mayfair Entertainment International
      • British Screen Productions
      • Bayly/Paré Productions
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

    Modifica
    • Budget
      • 6.000.000 £ (previsto)
    • Lordo Stati Uniti e Canada
      • 2.684.904 USD
    • Fine settimana di apertura Stati Uniti e Canada
      • 91.915 USD
      • 1 gen 1996
    • Lordo in tutto il mondo
      • 2.748.518 USD
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

    Modifica
    • Tempo di esecuzione
      1 ora 44 minuti
    • Colore
      • Color
    • Mix di suoni
      • DTS
      • Dolby Digital
      • Dolby Stereo
      • Dolby SR
    • Proporzioni
      • 2.35 : 1

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