RICHARD III - Laurence Olivier - Claire Bloom - John Gielgud - 1955 - Remastered - 4K

1955 British Technicolor film adaptation of William Shakespeare’s historical play of the same name, also incorporating elements from his Henry VI, Part 3. The prologue of the film states that history without its legends would be “a dry matter indeed“, implicitly admitting to the artistic licence that Shakespeare applied to the events of the time. Please consider subscribing to our channel for More Insights: CAST Richard III: Laurence Olivier Lady Anne: Claire Bloom George, Duke of Clarence: John Gielgud Duke of Buckingham: Ralph Richardson The Lord Hastings - Lord Chamberlain: Alec Clunes King Edward IV of England: Hardwicke, Sir Cedric Queen Elizabeth, wife to Edward IV: Mary Kerridge Sir Robert Brackenbury: Andrew Cruickshank Lord Rivers: Clive Morton Lord Dorset: Douglas Wilmer Lord Stanley: Laurence Naismith George Stanley: Richard Bennett Of Olivier’s three Shakespeare films, Richard III had the longest gestation period: Olivier had created and been developing his vision of the character Richard since his portrayal for the Old Vic Theatre in 1944. After he had made Shakespeare films popular with Henry V and Hamlet, the choice of Richard III for his next adaptation was simple, as his Richard had been widely praised on stage. Screenplay Most of the dialogue is taken straight from the play, but Olivier also drew on the 18th century adaptations by Colley Cibber and David Garrick, including Cibber’s line, “Off with his head. So much for Buckingham!“. Like Cibber and Garrick, Olivier’s film opens with material from the last scenes of Henry VI, Part 3, to introduce more clearly the situation at the beginning of the story. A key change in the story involved the seduction of Anne. It is split into two scenes instead of one, and an element of perversity is added—whereas in the original play she is following a coffin with the corpse of her father-in-law, in this film the coffin contains the corpse of her husband. John Cottrell has been quoted as saying this makes “the young widow’s seduction even more daring and revolting than it is in the original, and [gives] Anne’s capitulation“ in the second part after a passionate kiss “a new and neurotic twist“.This is accomplished by cutting lines, changing lines, and changing the sequence of some lines. The character of Queen Margaret is cut entirely, the role of the Duchess of York (Helen Haye) is significantly reduced, the role of Edward IV’s wife Elizabeth is also reduced, and the execution of Clarence and other scenes are abridged. This recording is for educational purposes only and is covered under Fair Use doctrine - Copyright - All rights reserved to their respective owners. Read the unabridged plays online: _______________________________ FUNDRAISING CAMPAIGN - DONATIONS - Shakespeare Network Website and YouTube Channel: Donate with PayPal or GoFundMe today: _______________________________ Screen Adaptation - Co-Production : MISANTHROPOS – Official Website - Adapted by Maximianno Cobra, from Shakespeare’s “Timon of Athens“, the film exposes the timeless challenge of social hypocrisy, disillusion and annihilation against the poetics of friendship, love, and beauty. _______________________________ Why Donate? Donations to Shakespeare Network help sustain free knowledge and educational programs on Shakespeare Network and our ecosystem of Shakespeare Network projects. Your contributions ensure these resources remain accessible and valuable for all. Thank you. 25% Direct support to website: Keeping the Shakespeare Network websites online is about more than just servers. It also includes ongoing engineering improvements, product development, design and research, and legal support. 25% Administration and governance: We manage funds and resources responsibly to recruit and support skilled, passionate staff who advance our communities and values. Our operating budget: Transparency is core to our organization. The Shakespeare Network develops our annual plan and operating budget through open processes, which are subject to feedback from our volunteers and Board approval. 50% Direct support to communities: Shakespeare Network projects exist thanks to the communities that create and maintain them. We strengthen these communities through grants, projects, and training programs. Contact us for further info.