Richard III

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.

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.

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 .

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.

When I see how wonderful this Richard III is, it immediately makes me question what in the world has Kenneth Branagh been doing all these years? Certainly nothing as imaginative, as provocative as this.

Deprived of Shakespeare as a child, I have been forced to catch up piece meal through film. Al Pacino's "Looking for Richard" gives attention to Richard III, from a far different perspective, but both that film and this agree that it has all the key elements of great drama: evil ambition, betrayal, rivalry.

The casting is tremendous with Ian McKellen (from his own stage play) and Kristen Scott-Thomas in the leads-thankfully there is no Kenneth Branagh to be found. And is this guy Jim Broadbent any good, or what? For my money he steals every scene he plays in "Little Voice", he's subtly brilliant here in a lesser role. Only Annette Benning seems a little overmatched in her portrayal of Queen Elizabeth, but that's hardly surprising.

The accessibility of the current version, the setting in 1930's Fascist Europe, gives the story a vibrancy that is present from the first frame to the last.

Challenging, fun, and educative-far more than most films deliver. I highly recommend.