Rei Lear

Much reviled at the time of it's release, this heavily cut, Danish

co-production horrified critics with it's bleak as possible take on what

some consider the world's greatest play.

Obviously influenced by nortic flicks from Dryer to Bergman,

Peter Brook shot this as a midevil horror show; and Pauline Kael called

it his "Night Of The Living Dead."

While certainly unfair to the scope of the Bard's vision, the

film is undeniably facinating; though sometimes tedious too. In the best

parts it comes alive with a vivid wickedness, you can certainly see how

Lear's daughter's came to hate his guts!

So, even if it does mutilate a classic, this film is pretty

amazing and highly recommendable. A dark product of it's own time, you

will scarcely see a Lear like this again.

As has happened so many times with the Oscars, another great film-actor-ensemble has been neglected. Recognised nearly universally as the ultimate test of an actor's craft, Paul Scofield as Lear in this 1971 version could be deified for his performance, even more complex than his Oscar-winning Thomas More in 1966's best pic "A Man For All Seasons". Viewing this film should be a prerequisite not just for R.A.D.A. acting students. Incorporating as he did the essence of Lear so organically, Scofield sadly was not even nominated, another nod to the lowest common denominator public taste. This review, nearly forty years after the pic's release, was an on-the-spot spontaneous impulse after yet another viewing of the film. People are afraid of Shakespeare(a.l.a. DeVere); don't be. All, but especially any pained by their own offspring, will turn away from the screen with much more than a penny's worth of thought and a rediscovery of the art of Paul Scofield and ensemble. It is a cliché, but they just don't make movies like this one anymore.

Peter Brook's film is a very bleak and barbaric interpretation of King Lear. He does a great job directing and whilst some of his experimentation doesn't pay off (such as very strange zooming with Kent at the beginning), when it does pay off it is fantastic (such as Lear's monologues)

Protagonists for William Shakespeare's plays run the gamut of age. From teenagers Romeo&Juliet to the ancient King Lear. Shakespeare was an ardent observer of mankind at all ages.

I've often wondered if Shakespeare got the germ of an idea for Lear when in his lifetime he saw Emperor Charles V who had a lot of Europe and a lot of the new world under his control. Politics of the time dictated he divide his empire and half went to his son who became Philip II of Spain and the other half went to brother Maximilian of Austria. Charles died in a monastery 2 years later.

It might have been better for Lear if he had locked himself up in a monastery and stayed there. But he was a tired old man and he had daughters instead of suns. Two daughters flatter the old guy and they get two halves of the kingdom. The third doesn't play that game and he cuts her off.

Then instead of staying in a monastery, the daughters and their husbands make it real clear to Lear that his advice and counsel aren't needed or wanted. Quite a shock coming from his 'faithless' children.

Peter Brook directed and also augmented Shakespeare's plot with some of his own ideas. More than Bard purists denounced the production, but as I remember they fit into the play structure nicely.

Brook also shot the film on the bleak and craggy shores of the Danish coastline. You can hardly tell this is a color film. But that also fit in well with the bleak and moody atmosphere of the play itself.

One undeniable asset this King Lear has is Paul Scofield in the title role. He is nothing short of superb in the title role and he underplays a lot more than either Laurence Olivier or Orson Welles in the same part. His closeups tell a great deal of the story.

This is not the best King Lear, but for Paul Scofield fans an absolute must.

in a moment of irony that could occur only in cinema, the definitive version of Shakespeare's 'king Lear' is Kurosawa akira's 1985 'ran'. only Kurosawa - at the end of his own career and looking back at at a century of blindness socially and politically, that dragged his culture through the horrors of the Tojo regime and the second world war - could grasp the essential insight of Shakespeare's vision of political perversion arising from simple but fundamental personal mistakes in judgment.

brook, of course, doesn't go after that. in fact, the issues just noted have been missed just about entirely by every American and British version of the play i've seen, even Laurence Olivier's farewell performance on television just before he died.

so when we come to brook's film, we have to let go of the hope that this will be the 'ur-Lear' that we seem to have misplaced in the west ever since the Elizabethan era.

in fact, let's let go of Shakespeare completely, here - this is a peter brook film, and brook is actually after something fundamentally cinematic - but not necessarily Shakespearean.

brook's film is a relentless portrayal of the world turned upside down. the most memorable quality of the film - and it stuck to me for many years - is the camera work, that gets unsteadier and more rapidly cut as the film goes on, until the audience feels trapped inside a house in a hurricane - and one that's quickly falling apart.

to find some ground in this visual catastrophe, the audience will desperately grab onto Shakespeare's words or the fine performances by the wonderful cast - but be warned - that's not really going to help much, and it's not supposed to.

brook, who made his name by approaching theatrical stage performances in a rather daring visual style, clearly wanted to see how far he could push the medium - the audience will have to decide whether he's successful - but the effort itself is worthy of respect.