Directed by Richard Loncraine
103 min Digital 15
Back on the big screen in a new Park Circus digital restoration, and part of the BFI Shakespeare on Film Season, Richard III is looking mighty fine at age 21. A bombastic and zippily-paced adaption of the bard’s epic study of villainy and ambition, this version, originally released in 1995, was adapted by actor Ian McKellen and Richard Loncraine from the National Theatre’s stage production by Richard Eyre. It helped make McKellan the international star he is today, he himself admitting it opened up the roles of Magento in X-Men and Gandalf in Lord of the Rings (though of course he had a long history of film and TV work before).
This take on Richard III is set in a glamorous, alternate history of 1930s England, full of silk and champagne and braided uniforms. A vicious civil war is taking place, one fought with WWII-era submachine guns and tanks, and within the first five minutes a gas mask and trench coat wearing Richard, Duke of Gloucester, has murdered the current besieged King (after driving his tank through the King’s HQ wall) with a pistol. To the sounds of gunshots, the RICHARD III title flashes up on screen as McKellan rips off the gas mask, revealing a sneer under a pencil mustache. The film never deviates from this hyper-stylised tone, and the fact it embraces it so fully makes it all the stronger.
Impressively squeezing the huge play into just two hours (McKellan and Loncraine have claimed only about a quarter of the text is on screen) through bold visuals, vivid set designs and costuming that clearly defines each character and place, and working with actors who deliver the ornate dialogue with comfortable ease, Loncraine gives us a rip-roaring tale of the classic ambitious ruler who could ‘murder while he smiles’. At the heart of the film is the oversized but compelling performance from McKellan, bedecked in regalia that blends British aristocracy with Italian and German fascist pomp, lurching about the place due to his character having a limp and withered arm. Though a disgusting, murdering villain, what makes Richard III so compelling is the way we are given access to his thoughts via to-camera addresses, a very postmodern touch from the bard which survives today in the shape of characters like House of Cards’ Frank Underwood. Through these intimate conversations about his schemes, we the audience become complicit in his deeds, as Richard moves, out of a mix of spite (he is a physically disabled child of his mother’s brood after all), ambition and his own self-hatred, to murder his way through his own family tree to get to the throne. We are both shocked at how far he will go and how brazen his scheming becomes – at one point Richard woos the wife of one of his slaughtered foes in the actual morgue where she mourns – but we also come to understand that an unstable but all-too-human mixture of feelings drive him.
Aside from McKellen, there is a great cast on hand; from Jim Broadbent as Richard’s sycophantic, but increasingly fearful and guilt-addled ally Lord Buckingham, to Nigel Hawthorne as the tragically innocent Duke of Clarence, who even when being knifed to death on Richard’s orders cannot believe his brother would do the deed. The use of London’s many atmospheric and often derelict locations, including the Battersea Power Station, makes the film work well as a time capsule of a bygone era. The costumes are a riot of colour and glamour, and when added to the striking shooting locations, make the film look far more expensive than it actually was (the film was budgeted for about $5m and actually ran out of money in the early stages). Overall, a great way to introduce the unwilling or fearful to the many ways Shakespeare’s classic tales can be told on film.
Director Richard Loncraine and actor, writer and producer Ian McKellen were at the BFI to take part in a post-screening Q&A of the new print of Richard III:
On the translation of Shakespeare from stage to screen.
IM: Well I’d played Richard III for the National Theatre, just a few blocks away from where we are now today actually, directed by Richard Eyre, which I guess makes him “Richard the first” and you [to Loncraine] “Richard the second!”! So I had a lot of the play inside me, including its long speeches: thought we actually had to cut out of lot of the characters and long speeches which link to the play’s past. The last third actually only really makes sense if you know about the history that preceded it. I was stuck with the idea that the audience comes to hear, rather than to see, and that an audience for Richard III would like a lot of talking! But here we are; this is a film. How much the cinema could replace the words was the question. I wasn’t at all confident it could be done. But I presented a cut-down version, knowing the play very well and the essentials, to Richard. He looked at it with beady eye of a cinema man!
RL: I just thought it was still a bit “pros-arch” still [prosenium arch], but I went to see Ian at his house, and instead of showing me the door, he asked me what we could do to fix it. We sat down, talked, and very quickly worked out – well it took months actually – how to carve up the text. You [to McKellan]handled the text as I knew nothing about it, and I tried to create images that I guess would be…disrespectful in a way. I always thought it needs debagging in a respectful way. I think that’s where the toilet idea came from didn’t it?
IM: When you do that speech [Richard III’s first on-screen address to audience] on stage, it breaks, it starts as a public declaration, then gets very personal, inviting the audience in to the private insides of Richard. Cinematically, to make it a public occasion and then reduce it to the most private place that a man can be, was actually cinematic, but Shakespearean too! You have to give up as a stage actor on the idea that you can make a film of Shakespeare and it’ll be just like the play. It won’t. It’s a translation as it were. You don’t have to regret it.
You can have a wonderful “Shakespeare movie” with hardly any Shakespeare in it all: Throne of Blood for example. Because those directors are sympathetic towards Shakespeare they get to the heart of the matter, which is the character, the complications and human nature, which is why Shakespeare has survived all these years.
RL: I was taught Shakespeare really badly at school, I really came out of school thinking Shakespeare wasn’t really very good. I was the idiot, not Shakespeare! It took me 38 years, until I met Ian, for me to realise he was a genius. But I felt we had to make it accessible, easy to understand: because I didn’t understand it! I wondered how I could direct actors if I didn’t understand what each scene meant. I had to understand every nuance of what was going on. Sometimes it was not possible. Obviously we couldn’t write Shakespeare, but we did things like create names that would be spoken on screen, like “Prime Minister”. Ian cut the text back and back, and I tried to create imagery to extend the story, for example trying to establish the political situation at the start of the play, with the tank driving through the wall.
IM: For the first ten minutes of this movie, nobody speaks, you think it’s going to be a silent movie. I rather like that. I want people to be sitting there wondering “when are these people going to speak”. Then they are ready for Shakespeare! Of course when they get it it starts “Now is the winter of our discontent”. What a great way to begin. I was terribly, terribly aware of the words, and wanting them to come through. So I was very pleased when Richard cast the actors he did. Maggie Smith! In just two speeches: doesn’t she give it the welly it needed!
On the character of Richard III
IM: Some actors have played Richard as if he’s a psychopath, he can’t stop killing people. But he actually only kills one person in this story, and then as a soldier. He issues orders: he tells other people to kill. Thats what tyrants do. This man is not unstable in the sense of a mass murderer. He is after power. He has ambition. He can do this because he doesn’t care. And Maggie Smith, bless her, texted me before this show saying; “stop saying its Richard’s mother that is the source of this”. But if you are born being told you are hateful and horrible, and your mother doesn’t like the look of you, it’s not a good start is it?
On the use of modern sets and clothing:
IM: Why do it in modern dress? Olivier after all had everyone in the accurate costumes for the time in his version. Because: if you don’t, you might not know who in this story who is in the royal family, and who is just an aristocrat, or who is in the church or the armed forces and their rank – there was no uniform in Shakespeare’s times to tell this. Richard is moving amongst them all. He gets on because he has a certain amount of charm.
You don’t have to relate it to the actuality of a history that might have been. It’s not real history. I think Shakespeare knew that. It’s a comment on history. In “modern-ish” dress, you just know who everyone is.