Falstaff

i just watched it, and it took my breath away. If possible, this might be better than Citizen Kane. Incredible. And the battle scenes are truly amazing. I only hope they'll bring out a new DVD release of it for Australia and America, because this movie deserves as much exposure as Kane. I was surprised and delighted by Welles's performance. He really shines in an atmosphere which permits theatricality (Shakespeare), and i felt this movie combines the best of his two loves: the theatre (the source material), and the cinema (told with Welles' stunning eye for a cinematic visual). Superbly produced for such a low budget (Macbeth was just too rushed in those three weeks). Its visually delicious, and has a brilliant sense of fun (like both Kane and The Trial), and yet it has more heart than the other two.

This movie has rejuvenated my love of and faith in Welles (i was really wavering after The Stranger, Macbeth and even Lady from Shanghai - all too damaged by money/studio interference for me).

Let's all take a bow to Mr Orson Welles, who after all those years of struggle, finally produced a thing of beauty and fun worthy of his talents, and reinstated his reputation as one of the greats.

Up front I think it's fair to admit that I have not read the plays Shakespeare wrote that provide the basis of this film and it's screenplay.

I've read Romeo and Juliet, Macbeth and Julius Ceaser and I'm blessed that my public education provided me that much. But when it comes to Henry the IV, V, or VI I'm pretty much in the dark.

Chimes of Midnight did not leave me in the dark however. Orson Welles, I think, did a wonderful job of translating Shakespeaian dialogue into action that could be understood, jokes that could be understood, dramatic tension that could be understood.

Not only do i realize I am 400 years removed from Shakespeare but I am also 53 years removed from whatever audience Orson Welles intended this for in in 1965.

But I don't feel removed from the artistry that it took to make this film.

I could follow the plot, I knew where characters were emotionally, and even better, I understood the jokes. Which, for me, was a huge windfall and a source of amazement.

Orson Welles was dead before I was even born and I find him totally captivating and engaging in this film. He's lovable, he's a rapscallion, he's larger than life and he breaks your heart when he's denied by the newly crowned king.

I'm coming to this as an outsider. I loved Citizen Kane and Touch of Evil, I immensely enjoyed F is for Fake, and I've been looking to engage in more films starring or directed by Orson Welles, and I walked away from this film feeling like it filled a gap.

Here was his passion for gorgeous cinematography, here was his love of the stage, here was his brilliance at translating plays, here was his love for acting here was his passion for entertainment.

At no point did this film drag for me, and even now, in 2017 did the battle scene not only engage, but surprise me. This IS masterclass film making and this film deserved a wider audience back in 1965 and it deserves it still today.

Absolutely riveting and amazing work.

What can be said about Chimes at Midnight that hasn't already been said? Orson Welles' ode to Fallstaff, a part that Shakespeare obviously created with Welles' himself in mind, seems to be the perfect culmination of his enormous (no pun intended) career. The meager budget of the film is only reflected in the bad dubbing & sound quality, which is still glaring despite restoration efforts. Welles makes up for this in film noir lit faces, intense battle scenes, and of course, his impeccable acting & connection with the character. With the minute movement of his eye, he can garner laughter or sympathy. While we may be used to chuckling at Falstaff's bumbling, brazen arrogance, Welles also brings us, in the end, to profoundly feel the anguish that lies at the depths of Falstaff's soul. His performance seems to be a psychological study on fatherly influences, quite probably pulling from his experiences with his own Fallstaffian father, among others. Having recently watched My Own Private Idaho, it is hard not to make comparisons & observe the obvious inspiration Gus Van Sant drew from Chimes for his quintessential film. It was also interesting to watch the dramatic battle scenes, which on a shoestring budget are very cleverly shot & edited to feel big budget. This film has probably inspired many larger budget Shakespearean, war & movies in other genres, and yet stands in a league of its own.

(Flash Review)

Very rarely has a voice been so perfectly matched to the poetic genre of Shakespeare. His deep and rich voice bellows out lines with great authority and emotion. I have a strong dislike for Shakespeare as I've never been able to fully comprehend the dialog. But this was an Orson film so I gave it my time and was rewarded by well-composed shot framing and interesting camera angles as well as his distinctive voice. The plot was about the betrayal of friendship and revolves around kings and people ascending to power while some get left behind. Great acting, a meaty story and if you like both Shakespeare and Orson Welles, don't miss it.

By far the best of Welle's three Shakespearean adaptations this is also arguably THE best Shakespeare on screen. Most filmmakers go for the tragedies - vide Welles himself - or settle for Romeo and Juliet but the History plays are seldom tackled. Here the maestro dips into several texts - most heavily into the two parts of Henry 1V but also Merry Wives, Henry V, Richard 11 - and then welds them together seamlessly to give an in-depth portrait of Falstaff. With a nice touch of irony the narration is spoken by Ralph Richardson who, prior to Welles here, was the definitive Falstaff - and remains so as far as theatre is concerned. It's hard to fault so I won't try, merely revel in a touch of greatness. 10/10