Product Details

• Actors: Ian McKellen, Annette Bening, Jim Broadbent, Robert Downey Jr., Nigel Hawthorne
• Directors: Richard Loncraine
• Writers: Ian McKellen, Richard Loncraine, William Shakespeare
• Producers: Ian McKellen, David Lascelles, Ellen Dinerman Little, Joe Simon
• Format: Color, NTSC
• Subtitles: Spanish
• Rated: R (Restricted)
• Number of tapes: 1
• Studio: MGM (Video & DVD)
• VHS Release Date: June 24, 1997
• Run Time: 104 minutes
• Average Customer Review: 4.4 out of 5 stars  See all reviews (130 customer reviews)
• ASIN: 6304046014
• Amazon Best Sellers Rank: #448,339 in Movies & TV (See Top 100 in Movies & TV)

Editorial Reviews

Amazon.com

This film adaptation of a critically acclaimed stage production of Shakespeare's historical drama stars Ian McKellen in the title role. The setting is a comic-book vision of 1930s London: part art deco, part Third Reich, part industrial-age rust and rot. The play's force is turned into a synthetic high by art directors and storyboard sketchers, all of whom have a field day condensing the material into disposable pop imagery. This is a fun film, more than anything, so infatuated with its own monstrous stitchery that even the most awkward casting (Annette Bening and Robert Downey Jr.) seems a part of the ridiculous design. McKellen is the best thing about the movie, his mesmerizing portrayal of freakish despotism and poisoned desire a thing to behold. Directed by Richard Loncraine (Bellman and True). --Tom Keogh

From The New Yorker

This fancy production-directed by Richard Loncraine, from a stage version by Richard Eyre-transports the scheming nobles of fifteenth-century England to the nineteen-thirties and dresses the villainous protagonist (Ian McKellen) in a Fascist's black shirt. The notion that Richard is a vicious thug isn't exactly a fresh insight, and the obtrusive ingenuity of the theatrical concept gives the whole spectacle a preening, self-infatuated quality-an inexpressive veneer of chic. McKellen's banality-of-evil portrayal of Richard is disappointing. The play is basically a rip-roaring melodrama with a magnetic, appallingly vital bad guy; what Loncraine and McKellen give us-a thin conceit about a dull, efficient, affectless sort of monster-is a poor substitute. Among the supporting players, Nigel Hawthorne (as Clarence), Jim Broadbent (as Buckingham), and Maggie Smith (as the Duchess of York) acquit themselves honorably; Annette Bening (as Queen Elizabeth) does not. -Terrence Rafferty
Copyright © 2006 The New Yorker

Customer Reviews

Most Helpful Customer Reviews

48 of 54 people found the following review helpful:

5.0 out of 5 stars Villany Unveiled., May 29, 2005

By 

Themis-Athena (from somewhere between California and Germany) - See all my reviews

This review is from: Richard III (DVD)

A gala ball: The York family celebrate their reascent to power; the War of Roses (named for the feuding houses' heraldic badges: Lancaster's red and York's white rose) is almost over. Actually, the year is 1471, but for present purposes, we're in the 1930s. A singer delivers a swinging "Come live with me and be my love." Richard of Gloucester (Sir Ian McKellen), the reinstated sickly King Edward IV's (John Wood's) youngest brother, moves through the crowd; observing, watching his second brother George, Duke of Clarence (Nigel Hawthorne) being quietly led off by Tower warden Brackenbury (Donald Sumpter) and his subalterns. With Clarence gone, Richard seizes the microphone, its discordant screech cutting through the singer's applause, and he, who himself made this night possible by killing King Henry VI of Lancaster and his son at Tewkesbury, begins a victory speech: "Now is the winter of our discontent made glorious summer by this sun of York" (cut to Edward, who regally acknowledges the tribute). But when Richard mentions "grim-visaged war," who "smooth'd his wrinkled front," the camera closes in on his mouth, turning it into a grimace reminiscent of the legend known to any spectator in Shakespeare's Globe Theatre: that he wasn't just born "with his feet first" but also "with teeth in his mouth;" hence, not only crippled (though whether also hunchbacked is uncertain) but cursed from birth, his physical deformity merely outwardly representing his inner evil.

Then, mid-sentence, the image cuts again. Richard enters a bathroom; and as he continues his monologue we see that only now, relieving himself and talking - with narcissistic pleasure - to his own image in the mirror, he truly speaks his mind; contemptuously dismissing a war that's lost its menace and "capers nimbly in a lady's bedchamber," and determining that, since he now has no delight but to mock his own deformed shadow, and "cannot prove a lover," he'll "prove a villain and hate the idle pleasures of these days."

Thus, Richard's first soliloquy, which actually opens the play on a London street, brilliantly demonstrates the signature elements of this movie's (and the preceding stage production's) success: not only its updated 20th century context but its creative use of settings and imagery; boldly cutting and rearranging Shakespeare's words without anytime, however, betraying his intent. Indeed, that pattern is already set with the prologue's murder of King Henry VI and his son, where following a telegraph report that "Richard of Gloucester is at hand - he holds his course toward Tewkesbury" (slightly altered lines from the preceding "King Henry VI"'s last scenes) Richard himself emerges from a tank breaking through the royal headquarters' wall, breathing heavily through a gas mask: As his shots ring out, riddling the prince with bullets, the blood-red letters R-I-C-H-A-R-D-III appear across the screen.

And as creatively it continues: Richard woos Lady Anne (Kristin Scott Thomas), Henry's daughter-in-law, in a morgue instead of a street (near her husband's casket), and later drives her into drug abuse. Henry's Cassandra-like widow Margaret is one of several characters omitted entirely; whereas foreign-born Queen Elizabeth is purposely cast with an American (Annette Benning), whose performance has equally purposeful overtones of Wallis Simpson; and whose playboy-brother Earl Rivers (Robert Downey Jr.) dies "in the act." Clarence is murdered while the rest of the family sits down to a lavish (although discordant) dinner. When upon Richard's ally Lord Buckingham's (Jim Broadbent's) machinations, he is "persuaded" to take the crown, he emerges from a veritable film star's dressing room complete with full-sized mirror and manicurists (sold to the attending crowd outside as "two deep divines" praying with him). Tyrrell (Adrian Dunbar), already one of Clarence's murderers, quickly rises through uniformed ranks as he further bloodies his hands. Richard's and Elizabeth's final spar over her daughter's hand takes place in the train-wagon serving as his field headquarters; and we actually see that same princess wed to his arch-enemy Richmond (Dominic West), King Henry VII-to-be and founder of the Tudor dynasty, with lines taken from Richmond's closing monologue. Perhaps most importantly, we also witness Richard's coronation, which Shakespeare himself - honoring that ceremony's perception as holy - decided not to show; although even here it is presented not as a glorious procedure of state but only in a brief snippet rerun immediately from the distance of a private, black-and-white film shown only for Richard's and his entourage's benefit.

And challenging as this project is, its stellar cast - also including Maggie Smith (a formidable Duchess of York), Jim Carter (Prime Minister Lord Hastings), Roger Hammond (the Archbishop), and Tim McInnerny and Bill Paterson (Richard's underlings Catesby and Ratcliffe) - uniformly prove themselves more than up to the task.

Even if the temporal setting didn't already spell out the allegory on the universality of evil that McKellen and director Richard Loncraine obviously intend, you'd have to be blind to miss the visual references to fascism: the uniforms, the gathering modeled on the infamous Nuremberg Reichsparteitag, the long red banners with a black boar in a white circle (playing up the image of the boar Shakespeare himself uses: similarly, Richard's and Tyrrell's first meeting is set in a pig-sty, and Lord Stanley's [Edward Hardwicke's] prophetic dream follows an incident where Richard, for a split-second, loses his self-control). But the imagery goes even further: Richard's narcissism is reminiscent of Chaplin's "Great Dictator;" and you don't have to watch this movie contemporaneously with the latest "Star Wars" installment to visualize Darth Vader during his gas mask-endowed entry in the first scene.

"[T]hus I clothe my naked villany with odd old ends stol'n out of holy writ; and seem a saint when most I play the devil," Richard comments in the play: if there's one line I regret to see cut it's the one so clearly encompassing the way many a modern despot assumes power, too; by cloaking his true intent in the veneer of formal legality. Even so: this is a highlight among the recent Shakespeare adaptations; under no circumstances to be missed.

Also recommended:
The Oxford Shakespeare: The Complete Works 2nd Edition
Olivier's Shakespeare - Criterion Collection (Hamlet / Henry V / Richard III)
BBC Shakespeare Histories (Henry IV Parts 1 and 2, Henry V, Richard II, Richard III) DVD Giftbox
BBC Shakespeare Tragedies DVD Giftbox
Henry V
William Shakespeare's Hamlet (Two-Disc Special Edition)
Grigori Kozintsev's Hamlet
Hamlet
Peter Brook's King Lear
Julius Caesar

41 of 49 people found the following review helpful:

4.0 out of 5 stars To fully enjoy this version you first have to know the play, September 27, 2000

By 

Lawrance M. Bernabo (The Zenith City, Duluth, Minnesota) - See all my reviews
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This review is from: Richard III [VHS] (VHS Tape)

Every since Orson Welles and John Houseman started the trend of updating Shakespeare, there have been several innovative interpretations of the Bard. More so that the drug lord culture of 1996's "William Shakespeare's Romeo & Juliet," this 1995 version of "Richard III" cast in Edwardian England is a successful addition to the tradition. Of course it has one big advantage over other such films in that it is based on the captivating stage production by Ian McKellen and Richard Eyre. Certainly McKellen is totally comfortable in his role, adding a 20th century venire of evil to the calculating Duke of Gloucster on his way to the crown. This Richard is readily accessible to a contemporary audience.

But there is one extremely important caveat to enjoying this film: you have to be familiar with the original play, otherwise you will totally lose the irony of the alterations. For example, in the play Richard woos his intended bride as she follows the casket containing her husband, who had been slain by Richard, who at one point ponders whether a woman had ever been wooed let alone won in such a manner. In the film version the scene takes place in a morgue, with the dead husband lying on the gurney. The scene is gruesome, something you would expect in a splatter flick rather than Shakespeare, but has a certain validity given the original scene. It is, after all, just a question of setting. But if you are not well versed in "Richard III," you simply can not appreciate the McKellen version.

Of course, this is a marvelous opportunity for teachers who can screen the film, or key scenes, after students have read the play. Imagine the discussions you can have on the range and validity of interpretation available. You can do the same sort of thing with "MacBeth"/"Throne of Blood," "King Lear"/"Ran," or the Olivier/Branagh versions of "Henry V." Or you can just enjoy this film at home and mull over such wonders on your own.

12 of 12 people found the following review helpful:

5.0 out of 5 stars No discontent with this production, July 1, 2005

By 

FrKurt Messick "FrKurt Messick" (Bloomington, IN USA) - See all my reviews
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This review is from: Richard III (DVD)

Ian McKellan played Richard III on the stage in London, then touring the world, under Richard Eyre's direction and the Royal National Theatre of Great Britain's auspices. Like many great productions of Richard III in the past, there was an anticlimactic sense about things when the lengthy run ended - McKellan compares his production (justifiably) to those of Henry Irving and David Garrick, but longs for the lasting legacy of Laurence Olivier, who translated his successful stage production into a lasting cinematic production. Richard Eyre issued the challenge to McKellan to produce a screenplay, which he did, in collaboration with Richard Loncraine. Loncraine then produced the film, again starring Ian McKellan as Richard III, updated into a National-Socialist timeframe.

It is true that Shakespeare is the 'author' of Richard III - of course, much of Shakespeare's authoring involved heavy borrowing, redaction and crafting. This is not to take anything away from Shakespeare's achievement, but rather to prove the adage 'good writers borrow from others; great writers steal from them outright'. However, every production of a Shakespeare play requires modification of some sort; bringing Shakespeare productions to the screen (indeed, bringing any stage-play to the screen) requires a recrafting to suit the medium. McKellan and Loncraine rearranged and edited expertly the play to suit a film.

Richard III has been an enigmatic and controversial character - Shakespeare's play is probably more in keeping with Tudor propaganda against Richard III (from whom they took the throne) rather than actual history; Richard's malformed physical form and malicious character may be fictions, or at least great exaggerations, designed to serve the purpose of bolstering Tudor legitimacy. McKellan points out (a theory not unique to him, by any means) that the Tudors had as much to gain from the disappearance of the princes in the tower as Richard himself; had they survived and been recognised as heirs of the throne, Tudor legitimacy would have been much less credible.

McKellan's Richard has disability physically, but the real deformity is of the will and the spirit. The Prussian-inspired military garb of this production hints at but also hides his physical disability for the most part. There is no real hump, stammer or limp that many portrayals of Richard might have.

McKellan describes the decision to update the tale of Richard III into more modern times as one to provide clarity of narrative. Indeed, for this production, Richard is seen as a storm-trooper similar to the militant cadres of Germany in the 1930; his grasp for power is very similar in tone to the rise to dictatorship of any number of fascist leaders, but the Nuremberg-Rally character of Richard's accession leaves little doubt as to the parallel. On stage and screen, in a drama such as these, people need to be readily identified in their roles; Elizabethan dress (or earlier dress) is confusing to the modern eye, but the difference between costuming for military, aristocracy, etc. in the modern time is readily identifiable. The exact historical situation is not directly relevant - given that Richard III already takes liberties with the actual history of the time, why not take more in the name of accessibility to the audience?

Richard III had to be cut to make it on the screen, in order to be turned into a visual rather than auditory experience, given the sensibilities of modern cinema-goers. McKellan and Loncraine originally wanted to film around the Houses of Parliament, but for various political reasons that idea was quashed. They used the Parliament building in Budapest, modeled after the Westminster building, and did so to great effect.

McKellan certainly steals the show here, but there are worthwhile briefer performances by the late Nigel Hawthorne, Robert Downey Jr., John Wood, and Annette Bening. Maggie Smith, as the mother of Edward IV and Richard III, turns in a stunning performance as usual, nearly upstaging the other actors in every scene in which she appears.

The music is serviceable, useful as a backdrop but never really stands out. This is appropriate to Shakespeare, even up-dated, 'postmodern' Shakespeare, in which the play's the thing. The visuals help to pull the story along, but in true Shakepearean mode, the dialogue and acting are the driving forces here, and they succeed brilliantly.