Ricardo III

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.

"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.

This is a peculiar updating of Shakespeare's play to the Thirties fairly races through the Bard's text and adding some historical elements. Dazzling and stagy entertainment about the ruthless and power-hungry Richard III being haunted by those he has killed . A deranged Lord competently performed by the great Ian McKellen mercilessly murdering his way to the English throne, during a dystopian England in the thirties . Great Britain kingdom is ruled by a sicked Edward IV who violently deposed the previous fleeble King . A web of intrigue veils the lives of all who know only too well that today's friends might be tomorrow's enemies . This interesting film deals with the story of mean Richard III Crookback , 6th in throne succession, while his brother king Henry IV -John Wood- appoints Clarence as Lord Protector of the Realm and preceptor his children . But aside from Edward , his other brother , Clarence -Sir Nigel Hawthorne- , and Edward's two young sons also stand between Richard and the crown of England . Subsequently , Richard eliminates those ahead of him in succession to throne then occupied by his ill brother Edward IV . As Richard , Duke of Gloucester , results to be a dominant , unstoppable , nasty lord , gross black spider of a figure that devours or possesses everything on its path . What Is Worth Dying For... Is Worth Killing For. I can smile, and murder while I smile . Power Conquers All...I am determined to prove a villain, and hate the idle pleasures of these days... Mother England meets Father Terror ? You will need someone to hand onto when you come face to face with the blood-chilling terror in the tower !

Enjoyable and hypnotic amusement for Ian McKellen enthusiasts , resulting to be a sophisticated remake from classy Laurence Olivier version . The film turns out to be like a Shakespearean theatrical drama set in a fascist society . Give it high marks for originality and admire some striking set pieces , but hand the superior and real crown to Laurence Olivier's 1956 vintage movie . This awesome movie being partially based on historic events , during Two Roses War, Red Rose (York House) ruled by Edward IV and Richard III followers and White Rose (Lancaster House) , Henry VII followers who defeat to them . Finally , there takes place the Battle of Bosworth , in which Richard III is vanquished and a new ruler called Henry VII takes over the kingdom . The picture profits from a terrific cast who gives over-the-top interpretations . Ian McKellen provides an incisive role featuring an acclaimed acting . He plays a camera-adressing fascist , seems far too easily bested at the end . Being well accompanied by a prestigious secondary cast , such as : John Wood as King Edward IV , Nigel Hawthorne as Duke of Clarence, Annette Bening ,Tim McInnerny , Jim Carter , Bill Paterson, Maggie Smith , the best performance comes from Jim Broadbent and Robert Downey Jr but unfortunately his role doesn't last very long .

Other movies regarding this historical character are as follows : "Tower of London 1939" by Rowland V Lee with Basil Rathbone , Boris Karloff and Vincent Price who coincidentally appeared here as the doomed Duke of Clarence . "Richard III 1956" starred and directed by Laurence Olivier with Jean Simmons , Ralph Richardson , John Gielgud , Sir Cedric Hardwicke , Peter Cushing , this is the landmark version of the Shakespearean play . ¨Tower of London¨(1962) by Roger Corman with Vincent Price , Michael Pate , Joan Freeman, Richard Hale , Robert Brown and Sandra Knight, it is really a terror film in the wake of Allan Poe/Roger Corman adaptations . And this modern take on "Richard III" by Richard Loncraine with Ian McKellen, Jim Broadbent , Robert Downey Jr , Nigel Hawthorne , being set in an imagined 1930s London if swanky Art Deco .

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.

I'm not always comfortable with Shakespeare in modern dress, nor with Ian McKellen's apparent assumption of the mantle of Olivier and Gielgud. Neither did I think that anything could top the experience of seeing Antony Sher play the role on the 500th anniversary of the Battle of Bosworth.

So after all the unfavourable comment, I was shocked to find this version comprehensively squashing all such reservations. It's brilliantly thought out, superbly played and totally gripping from start to finish.

The updating to a non-specific inter war period is not just apposite but genuinely illuminating. The games McKellen plays with the changing techniques of warfare in the period, the rise of fascism, realpolitik and the undermining of royalty by the Wallis Simpson affair, push back the boundaries of Shakespeare on film in all directions.

For example, at the very moment you're thinking that all this mayhem is a bit much in English period costume, the helmets change, then the uniforms get darker, the red flags appear and Richard's acceptance speech turns into an underground Nuremburg Rally - a stark reminder of just how deeply the country flirted with fascism in the 30s and just how short and steep the descent can be. Stanley's troops, crucially uncommitted, stood off overlooking the real Battle of Bosworth. McKellen's Richard has control of the railway network here, but Wing Commander Stanley denies him the all-important air support in a superb piece of updated analogy. Throughout, modernity is so carefully and relevantly overlaid on the plot structure that it becomes one of the great pleasures and achievements of the piece.

Lots of surprises, not the least of which comes as the play's most famous line is perfectly re-engineered and delivered and lots of great players at the top of their form.

McKellen, Scott Thomas, Broadbent, Downey Jnr and Annette Bening are all worth the price of admission individually, but there's hardly a flaw in any of the performances.

I simply can't see what the detractors are on about at all. Really. An epic piece of work. Easily the best version on film. Easily the most thought provoking Shakespeare on film.