Looking for Richard

Like Ian McKellen's unconventional RICHARD III, this film brings us into Shakespeare in an unusual and effective way. Al Pacino gathers a number of well-known non-Shakespearian actors and they not only stage several of the more important scenes in the play, but they also discuss the meaning of the scenes and the motivations of the characters. These discussion act as a prelude to the scenes and thus make the scenes not only much clearer but also far more powerful than the traditional productions in which the audience may be lost in the dusty old politics that saturate the play. See this one before you see any of the more traditional versions.

After reading many of the previous reviews and commentaries, I'm beginning to wonder whether we all saw the same movie! I found the entire piece enriching, riveting, and suspenseful, and was immediately moved to call friends and family members to recommend it. The performances are remarkable: Pacino is intense, Ryder catches the "deer-in-the-headlights" feel of her character perfectly. Baldwin is restrained and beguiling, while Spacey delivers his usual flawless performance. Penelope Allen was astounding. The movie serves, not to deliver the entire work-- analyzed, explained, and discussed-- on a platter, but, rather, to whet our appetites and bring Shakespeare to modern classes, and I felt it succeeded in this admirably. It also showed the thought and preparation that goes into such a production. I particularly enjoyed watching the actors discuss various interpretations of particular scenes, imparting their own ideas and feelings, and often disagreeing with each other. While we are both generally "action movie" or suspense fans, we found ourselves completely drawn into the drama, both in the characters and in the actors, and-- even knowing, of course, the ending in advance-- found ourselves on the edge of our seats as the film neared its climax. My one complaint? I wish they had then gone on to film their entire version of Richard III to offer as a companion piece. An excellent way to indulge yourself in an exciting, well-performed piece of movie-making, and actually come away having learned a little bit. Highly recommended!

Looking for Richard frames the essential postmodern question in its own terms: Is this a film about Richard III, or is this a film about a film about Richard III? Cameras follow Al Pacino as he wanders New York, sometimes on foot, but more often in the back of a limousine. We're not sure what he's doing, except it has something to do with Shakespeare's play Richard III. There are rehearsals with familiar actors, and actual performances, some seemingly on stage, some on sets, some on location, all of it interspersed with discussion about the play. Is the play actually to be staged, or is it all a show for the film? We don't know, and really, it doesn't matter. For the most part, this is a pleasant meditation on its subject.

Pacino has chosen a treacherous path: on one side stands the dauntingly complex Shakespeare play, and on the other the patronizing attempts to simplify it for the modern audience. There were several times when I felt talked down to by the actors, but just as many where I felt I benefited from the expanded explanation. Also, with Pacino so vibrantly at the center of every scene and little attention given to others, the film unavoidably has the flavor of a vanity project.

What the film does convey effectively is the power of theater to transport people intellectually and emotionally. The contrast between Pacino's stuttering attempts to summarize certain plot points and his magnificent animation as Richard is fascinating. Like the story (possibly apocryphal) about how Picasso, when asked to explain the meaning of one of his paintings, replied that if he could do that, he wouldn't need to paint, even inarticulate actors possess remarkable powers when inhabiting their roles. This insight was the film's central revelation for me.

Al Pacino brings Shakespeare to the common man in this documentary exploring the complexities of Richard III. If you can get past the insinuation that the "every day ordinary man (or woman)" is too slow to understand the intricacies of Shakespeare, you are left with quite an interesting, entertaining film. I have to be honest and say that many people do find Shakespeare a little bewildering, and tackling Richard III, one of his deepest, confusing plays, is no easy task. Therefore, let down your guard, and let the actors and scholars give us their interpretation of this most fascinating play. I found much irony in this simple effort, which made the film all the more enjoyable. In telling us of a story of a man, who wants so badly to become king as to betray all those he knows and loves, we learn the story of a singular, power hungry man, with an urge to rule his people. In his own admission, Pacino himself is on a quest to be the ultimate monarch of his own film, and tell us all, us commoners, the true meaning of this classic work. Whether or not the parallel is intentional, I don't know, but it still makes for interesting story telling. And the ultimate irony of all is that some of the deepest and most intelligent quotes come from interviews with Joe Q. Public; the man on the street.

This film has fascinated me ever since I first happened upon it in the library of Millsaps College in Jackson, Mississippi. By a happy coincidence, I also checked out Ian McKellen's quite excellent "Richard III" on the same day and spent most of the afternoon viewing and comparing the two.

It all works: the performances, the interviews, the clowning around on the set. I thought Spacey was wooden, but Baldwin . . . wow . . . who would have expected such a performance.

Highly recommended for anyone who reads and thinks.

Rusty