The First Part of King Henry the Fourth, with the Life and Death of Henry Surnamed Hotspur

Anthony Quayle was one of last century's most effective Falstaffs on stage. His performance here is brilliant but encumbered by the overall interpretation.

David Giles called the second tetralogy a "Henriad", the story of how Hal grows up to be Henry V, and the plays are cut accordingly. For instance, Falstaff's words to Hal, "thy love is worth a million, thou owest me thy love," are gone, as is much of the warmth between the old knight and the young prince. As a result, Falstaff becomes a secondary character who hums and haws with nervousness.

David Gwillim is engagingly ingenuous as Hal, and he very nearly succeeds in carrying the additional weight that Giles has loaded on him.

The rest of the cast is also strong, with Jon Finch a guilt-ridden usurper, Tim Pigott-Smith a fiercely mock-heroic Hotspur, and Richard Owens a pompously magical Glendower.

When William Shakespeare's history play, "The History of Henrie IV" (later renamed "The History of Henry IV" Part 1 to distinguish it from its sequel) entered onto the literary stage towards the end of the 16th century, both figuratively and metaphorically, one of the most famous and popular of Shakespeare's characters made his debut: Sir John "Jack" Falstaff. As far as we know, Falstaff was an immediate sensation, attested by the numerous quarto editions printed prior to the so-called Shakespeare First Folio of his collected works which appeared in 1623. Sir John Falstaff, possibly loosely based on Sir John Oldcastle, a knight and friend of Henry V until he rebelled against the king, is an old knight whose "vassals" are a bunch of drunken lowlifes who congregate with him at his "court", a tavern far removed from real court life among the nobility. Although, one frequenter of the tavern and friend of Falstaff is Prince Hal, son of King Henry IV.

Three different groups of characters form the play "Henry IV Part 1". There is the king and his immediate group of advisers, a rogue group who have designs to overthrow the king, and Falstaff and his group of "courtiers" at his tavern. Prince Hal moves within the circles of two of the three groups, until, by play's end, all three groups converge in the climactic scene. While the play is named "King Henry IV Part 1", much of the stage-time is devoted to the relationship between Prince Hal and Sir John Falstaff. We never know why Prince Hal congregates with these drunkards, but we learn at play's beginning, he's been doing this for a long time.

The play begins circa 1400. It's been approximately one year since Henry of Bolinbroke, now King Henry IV (Jon Finch), deposed his inept and unresolved cousin, King Richard II in one of the most famous coups in English history. However, even after a year, there is still uncertainty in the court regarding King Henry, mainly among the nobles and barons that he has no legitimate claim to the throne. And there had been an outbreak near the Scottish and Wales border at the play's beginning, involving King Richard's chosen heir, Mortimer.

Edmund Mortimer, brother of Henry Percy Hotspur, is being held ransom by a Welsh traitor, Owen Glendower. Hotspur insists Mortimer fought valiantly against the rebels, but the king, based on his own intelligence, doesn't believe Mortimer to be as loyal and brave as Hotspur propagates and refuses to pay the ransom for Mortimer's release. The Percy's also hold in their charge prisoners from the rebellion, and the king wants them turned over to him, but they refuse to comply because of Edmund Mortimer. This compels Hotspur and other members of the Percy family, notably his uncle Thomas Percy, to raise an army and rebel against the king. The Percy's had backed Henry during the coup allowing him to become king.

On another front is Prince Hal (David Gwillim) who has been commiserating with Sir John Falstaff (Anthony Quayle) and his congregation of drunkards at a tavern, presumably in the seedier side of London. Most of the cronies are far older than Prince Hal, save one, Poins, who appears not only to be the same age as Hal but probably more intelligent than the others. Poins convinces Hal to play a trick on Falstaff and his drunkards. Through conniving, they convince Falstaff that he and some of the other bar-flies should rob money from some wealthy traveling tradesmen/travelers. Unbeknownst to them, Hal and Poins in turn plan to rob the money from Falstaff and friends, knowing that when they return to the tavern, Falstaff will boast that they were set upon by 20 to 30 vagabonds. Their predictions prove right, but Falstaff exceeds expectations, claiming he was set upon by 100 vagabonds who he fought off valiantly!

Eventually, a messenger is sent to the tavern summoning Hal back to the court at the king's behest. In a brilliant scene, Falstaff and Hal re-enact Hal's return to the king, with Falstaff playing the king and Hal himself, then reversing the roles. However, when Hal does confront his father back at the castle, neither of the play-acting scenes mirrors the confrontation. The king, in perhaps the most famous scolding in Shakespeare, reprimands his son for commiserating with the barflies at the tavern, reminding him he is to be king one day, and his behaviors shame him and his noble-royal family. He reminds Hal that they have serious matters to attend to, notably to confront Hotspur and the rebellion. Even though Hotspur's behavior has turned treasonous, the king admires Hotspur's military resolve, not convinced Prince Hal has the same metal.

This is a wonderful production of perhaps William Shakespeare's best fusion of drama and comedy in a play. Jon Finch makes a compelling King Henry IV, his resonant voice echoes the words of Shakespeare of the late 16th century portraying a medieval king of the early 15th century. David Gwillim makes a good Prince Hal, who must juggle his desire to hang out with Falstaff and friends and yet do his duty as prince to the king. However, Anthony Quayle nearly steals the show as Sir John Falstaff. Quayle makes the lines of Falstaff his own, the old knight constantly telling stories of passed exploits in which the details are just a little bit bloated. In an interesting turn, when Prince Hal rhetorically puts Falstaff in a corner after the old knight claimed he was set upon by 100 vagabonds, and Hal admits it was only he and Poins, Falstaff in true Shakespeare fashion comes up with a quick-witted response!

These history plays are the least ambitious of the BBC Shakespeare series in terms of directorial approach - an almost semi-documentary feel accompanies the personalities and political machinations that lead to war. There's no attempt here to replicate Vermeer or some other Old Master. That doesn't short-change the work in any way, and if you're curious about this play, don't hesitate.

Anthony Quayle plays a jolly Falstaff who is also a flinty, manipulative SOB. The approach works like a charm. Jon Finch's King Henry IV is part lion, part water buffalo, but always in charge. The potentially tiresome Hotspur is redeemed with a welcome note of humor by Tim Pigott-Smith. John Cairney's Douglas is marvelously peppery, and Brenda Bruce's Mistress Quickly avoids cliché by bringing out touching warmth and humanity.

When David Gwillim first appears as Prince Hal, you wonder "can this glass of milk really grow into Henry V? Has BBC casting lost its senses?" But in fact, he manages the transition to adult responsibility very well, and by the end of the play he's obviously made of the right stuff. So Shakespeare has fooled us successfully once again.

A special note should be made of Clive Swift, in his pre-"Keeping Up Appearances" days. As Worcester, he personifies the actor's dictum that acting is reacting. His voice is plain and his delivery unremarkable, but oh, that man can listen! As The Dumpy Bald Guy in the Corner With a Silent Grievance, he absolutely invents the category.

We should also note the battle scenes, always problematic in the studio and here quite well done. And the lovely outdoor set, including a steep hillside, bursts the bonds of BBC's TC1. The pace is not fast, but it is reasonable. An excellent production all round.

I am a huge fan of all Shakespeare, but the Henry IV and Henry VI plays are some I've put off reading and watching until now. I have read a lot about them and heard many references to them, but I only just watched this BBC production. And I liked it. But I was particularly struck by something about Falstaff, who is one of the absolutely most popular characters in all of Shakespeare: he's not that likable a guy! The banter between him and Hal are not that good-natured but rather sharp and even occasionally condescending! In this production, at least, one gets a clear sense that Hal's entire habit of socializing with the likes of Falstaff is almost purely a part of his plan to prove an unexpectedly capable leader after he is crowned. He doesn't like Falstaff very much at all! He does not truly condone his indulgences in wine-drinking and thievery. He only keeps Falstaff's company in order to learn what life is like in that social class, and to disguise his true and noble nature to the courtiers. This is actually a much more pointed and poignant portrayal of Hal than what we saw in those flashback scenes in Branagh's (otherwise excellent) Henry V. David Gwillim is masterful as Hal, and clearly the best of the cast of the BBC production. I am greatly looking forward to Part 2, which I will watch at my earliest convenience.

A literal interpretation of this history play. It is interesting to watch the words become action, especially in the case of H. Percy, played with impatience and gusto by Bruce Purchase (he looks like a young and wild Ben Cross). If you've read the play, his performance is worth the view. Price Hal is done well, as is blustery, mumbling Falstaff; but the king, I thought, was played with very little artistry. It's a shame that his opening speech sets the tone for the play, because it sounds like it's being read rather than acted. It makes the whole production seem a little stiff.

DVD: The sound is terrible in some places, and it's difficult to get all of the dialogue. Subtitles were not available, which I think would have added to the production.