Remakes And Renditions Of Shakespeare's Play Henry V
Shakespeare's Henry V tells the story of a young royal that sets out to claim the French crown. Henry goes from a young, free-spirited prince that parties with the peasants to a king that takes on the burdens of the English throne. Shakespeare's script from this part of history is a popular subject for movie directors, even years after his passing. Olivier and Branagh are two such producers. Each has transformed this play to suit his purpose. Branagh and Olivier are both talented in the art of cinematic construction of Henry V, but even so, through his use of modern media technology, a historically accurate battlefield, character depiction, and purpose to attract the younger generation, Branagh takes the cake on quality.
The setting of a movie affects the entire film as seen when watching these two Henry V's side by side. Olivier's version is staged as a play. He has a majority of the scenes on the golden globe stage, showing shots of actors who are getting into costume and bowing at the end of the scene. He even goes so far as making the setting like it's in the day of Shakespeare. He has the audience dress up like they are in Shakespeare's time. They crowd the theater, applaud, and react to parts of the play. Oliver tries a different approach with diverse varieties of media techniques. The performance is staged at the Globe Theatre, which makes this movie a play-within-a-play. The chorus introduces the play on the stage of the Globe Theatre. The author of RABBITS and DUCKS: Olivier, Branagh, and Henry V states 'Olivier's Henry V is thus concerned not only with transforming Shakespeare's play into a mythic celebration of England's warrior-king, but also with demonstrating the superiority of the cinema to the stage in its ability to experiment with multiple levels of dramatic illusion'(Deats). This is in reference to Olivier switching the scenes between the stage, behind the stage, and on a landscape. Branagh, on the other hand, makes it a lot more like today's modern cinematic medieval experience. He starts the show off with the chorus lighting a candle, wearing black, and talking mysteriously as he walks through an unidentifiable place. He presents no audience to laugh or be appalled at the characters in the movie. The feel is similar to that of Lord of the Rings where the viewer is not acknowledged and enjoys the different shots and graphic effects possible with modern film including the scene involving the Salic law.
In the scene where the archbishop discusses the Salic law, Branagh treats it more seriously while it is not so seriously treated in Olivier's. In Olivier's version, the Duke of Canterbury reads the Salic law to the king as the Duke of Ely scrambles around and tries to get him the right parts of the script so that he may finish reading to the king. The audience is rolling with laughter as the two fellows try to 'get it together'. Branagh's version is not quite so humorous. An entirely different mood dominates. Branagh is clearer about the plotting of the Archbishop of Canterbury as he walks about and professes how Henry has the right to the French throne. He presents this scene with darkness and a zoom in of the Archbishops huddled around Henry's head whispering into its ear. This is then followed by glances between the king and the churchmen advising him to go to war for the French Crown, as it is rightfully his. The balls scene quickly follows this entire calamity.
The Tennis ball's scene has obvious contradictions and contrast in each version of the film. Olivier's version is more comedic and flamboyant. The mention of the balls brings even more laughter from the crowd as the king presents his reaction. When Olivier's King is confronted with the balls he stands and shouts with outspoken resolve as he tosses his crown. It is obvious that all of Olivier's intent is to glamorize King Henry. Branagh's king is a lot more complex. He enters as a cloaked figure sweeping past his courtiers to his throne. He is young but he owns the skills needed to lead the kingdom. He responds to the present of balls and the insult from the message whilst glancing at the churchmen. The camera zooms in on Henry's face to show his displeasure with serious music. He is still heroic and analytical. This event leads to many confrontations on the murky French soil.
There is not much of a muddy Battlefield in Olivier's interpretation but in Branagh's, there was mud splashing everywhere and rain in almost every scene. This is very accurate to the weather at that time in history. The writer states in The 'miracle' of Agincourt 'As for the French, they were trying to cope, none too successfully, with the soggy fields between the two woods. Mud covered everything' (Hamme). French soldiers, miserable and worn out, were partially defeated trudging through knee-deep sludge. The muddy battlefield was miserable but helps Henry get to Kate.
In Olivier's production, Princess Kate is learning to speak English as she suspects that she may become the bride of the English king. The scene starts with Kate walking through the castle garden, placing flowers in a basket, and reviewing English words with her maid. Olivier's Princess Kate is more of a fairytale princess who expresses poise and self-confidence. Contrariwise, in Branagh's version, the French princess is in her bedroom going over the English words with her maid. She is dressed in a nightdress and is more childlike. She laughs and dances around as she plays with saying the English words until she opens the door and sees her father and brother and their followers. Her expression is that of a child that was doing something wrong when her eyes meet theirs. Henry is coming for her, and she knows it.
The wooing of Kate is another colorful event. Olivier's Henry gallantly waltzes into the palace of princess Kate and charms her into being his. Branagh's wooing scene is intricate. Princess Kate is unhappy with the idea of being with the 'enemy of France' even as Henry continues to flatter her. When he asks if she wants to be with him she tells him of her feeling like a pawn in a game. In the end, she begins to feel affection towards Henry and she even agrees to kiss him before marriage. This is a symbol of Henry's intention to unite the two nations.
The protagonist, Henry, is in the middle of this whole story. He deals with many psychological challenges from having to make hard decisions to undercover listening to what his soldiers really think of him when he runs into a group of soldiers around a campfire and disputes the morality of war and the king's accountability for deaths in battle. Olivier's Henry is not manipulative but forthright and kind-hearted. 'Set free the man committed yesterday that railed against our person, we considered it was the heat of wine that set him on, and on his wiser thought we pardon him'(Olivier). Olivier's Henry is not a harsh punisher, but forgiving and understanding. Even during the scene where Henry is disguised in a cloak around the fire with a group of soldiers, he stays calm, cool, and collected. There is no mention of Henry knowing his father's past transgressions that have to do with his claim to the English and French throne, and the scene where his friend is hanged for stealing is omitted. Branagh's Henry is angry that his friends have betrayed him. He shows violence and no mercy. He is more committed to discipline. It is difficult for him as he is forced to choose between his responsibilities as king and his personal feelings. A good example is when Boldorf is discovered stealing from the village that Henry said to take mercy on and to not steal from. Henry remembers that conversation they had about not hanging a thief but he must set a good example as a king. He cannot be lenient. Henry says 'We would have all such offenders cut off...for when lenity and cruelty play for a kingdom, the gentler gamester is the soonest winner' (Branagh). He fails to hold back his tears from seeing his friend's limp, swaying body hanging on the rope. Directors, to suit their purpose, act out King Henry's personality differently.
Olivier's version was produced during the time of World War II. His intention was to give hope to those in times of war by presenting a cheerful and colorful 'saintly hero' that the people could cheer for. Branagh did not have that kind of pressure. He gets into the nitty-gritty and has no problem showing Henry's dark side or people being ruthlessly slaughtered.
It seems that Branagh has taken his favorite scenes from Olivier's film and enhanced them for the modern public. Olivier left out a lot of the gore, blood and the negative characteristics to produce fantasy themed movie-play to uplift the spirits of his audience. None of these movies are exactly what Shakespeare wrote, but they highlight different parts of his play with artistic quality. It is obvious that these movies were made for their time in history. They are two beautifully expressed works of art. Olivier did an amazing job for his time and purpose, however, in this new age times have changed and Branagh skillfully utilizes his resources to take audiences into Henry's psychological world and gives an accurate portrayal of this time in history. Henry V is a well-written play. Henry demonstrates courage, self-discipline, and determination. This time in history is forever immortalized through remakes and renditions of Shakespeare's brilliant play.
