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| Falstaff Chimes At Midnight [Import] | ![Falstaff Chimes At Midnight [Import]](http://ecx.images-amazon.com/images/I/413CXPMQ5FL._SL160_.jpg)
 enlarge | Director: Orson Welles
Actors: Orson Welles, Jeanne Moreau, Margaret Rutherford
Studio: Continental
Category: DVD
Buy New: $37.99
New (3) from $37.99
Avg. Customer Rating:  6 reviews
Sales Rank: 30209
Format: Import, Ntsc
Languages: English (Unknown), English (Original Language), Spanish (Original Language), English (Subtitled), Portuguese (Subtitled), Spanish (Subtitled)
Number Of Items: 1
Running Time: 105
UPC: 044007150313
EAN: 0044007150313
ASIN: B0007X6KM2
Theatrical Release Date: 1967
Availability: Usually ships in 1-2 business days
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Product Description
Let's not mince words: this is the greatest film of Shakespeare ever made. Admittedly there are only two other films in competition for the honour, both by Welles, but this is the one that makes the whole seemingly daft exercise viable. It is the only Shakespeare film not to feel like a 'Shakespeare' film, with verse spoken by characters who sound like they always speak thus. Never has a Shakespeare film felt so vivid, immediate, real. So many Shakespeare films have been so deadly reverent that the works seem utterly remote in time and sympathy. CHIMES AT MIDNIGHT, while remaining true to Welles' great theme of solipsism, and striving for emotional realism, offers a real, plausible place, filled with living characters. It's ironic that it should take an alien technology to make Shakespeare and his time breathe for us.
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| Customer Reviews: Read 1 more reviews...
Welles' Shakespearean Masterpiece February 8, 2008
16 out of 17 found this review helpful
Orson Welles' filmmaking genius did not vanish after "Citizen Kane." Released in 1966 and barely shown in America, "Chimes at Midnight" was his best Shakespearean adaptation - featuring some of the finest battle scenes captured on celluloid. Surrounded by an excellent cast, Welles delivered the performance of his career as Falstaff. In a 1982 BBC interview, the actor-director considered "Chimes at Midnight" his greatest cinematic achievement. "If I wanted to get into heaven on the basis of one movie, that's the one I'd offer up."
Perhaps the definition of a little-seen masterpiece. January 29, 2008
13 out of 15 found this review helpful
With the aide of a middleman, and a tip from the great Roger Ebert, I recently acquired a Brazilian DVD of Orson Welles' "The Chimes at Midnight". One can't help but applaud the foreign distributor for making this film available, even marginally, for otherwise I would have had no opportunity at all to see it.
One of the most obscure products of Welles post-Hollywood films made on lunch money and pocketfuls of change, "Chimes" has spent the last forty years as a critically adored, but largely unseen masterpiece. Welles compresses most of the first half of the 'War of the Roses' cycle, largely consisting of "Henry IV, Parts 1 & 2", and a handful of scenes and lines from "Henry V" (many descriptions of the film also include "The Merry Wives of Windsor", but I can't identify any part of the film from that play). The political aspects of the Henry IV plays are largely eliminated, and the remainder exist mostly to give some justification to the larger plot (and the war); the focus is, as the alternate title of "Falstaff" suggests, primarily on valiant Sir John, played by Welles himself.
Aside from Welles, the notable parts are filled by the late Sir John Gielgud (as King Henry IV), Keith Baxter (as Prince Hal/Henry V), Margaret Rutherford (Mistress Quickly), and Jeanne Moreau (Doll Tearsheet). It's surprising to see big Bard actors like Gielgud participating in a production like this, but doubtless they did it as favours to Welles, who, from the late 40s until his death was sort of like Ed Wood, if Ed Wood made good movies. Given the incredibly choppy production history, it's amazing that the film isn't totally unwatchable; instead, it's great. In fact, aside from the sometimes glaring sound synchronization problems, I'd venture to say that the minuscule budget isn't really noticeable: the Battle of the Shrewsbury is excellent, and you can clearly see its influence on Branagh's Agincourt and Gibson's Stirling.
Harold Bloom once called Falstaff the equal to Hamlet, although Falstaff arguably suffers because he, more than Hamlet, needs to be seen performed to be truly understood, while Hamlet can be more thoroughly comprehended just by reading his dialogue. I've always been fascinated by the disconnect that exists between the "Henry IV" plays and "Henry V" in regards to the character of Hal. Whatever his good qualities, the Prince's role in the first two is that of a conniving Machiavel who uses a band of jovial rogues to advance his own reputation, while in "Henry V" he has taken on the role of crusading hero (although Shakespeare's writing choices sometimes subvert his heroism). In many ways, it's surprising that audiences, in any age, wanted to see anything more of the man that destroyed poor Jack Falstaff.
Chef d-oeuvre of his canon? December 6, 2007
11 out of 11 found this review helpful
I obtained at VHS copy of this film back in the early 90s when I was just out of university, and I've seen it maybe two or three times. It's a remarkably outstanding piece of cinematic achievement -- much like his Othello, Welles melds the artform of the 20th century with the immortal bard's words, characters and situations to marvelous effect.
The audio quality of the VHS was difficult at times, and the same is true for this DVD (ironic that Welles' audio on so many films is subpar considering he was a radio star first, where all he had was audio), but it shouldn't get in the way of your enjoyment of the film.
The entire cast turn in fantastic performances and the stark B&W images underscores the emotional nature of this story -- the disposing of one's mentors.
One can't compare the script to anything Shakespearan, because it's an amalgam of several pieces of Shakespeare from his "Histories" yet Welles stitches the appearances of Sir John Falstaff together with magical aplomb and gives the story a narrative drive that is more modern, yet still classical in its design and execution.
If any film warrants at Criterion restoration it's this film, however I have to believe the original elements are in the worst condition; still sinking some money in by the UCLA Film Archive for restoration wouldn't be a bad thing...
The search for Welles' late masterpiece just got a little easier May 12, 2006
50 out of 51 found this review helpful
The search for Orson Welles' late masterpiece "Chimes at Midnight" just got a little easier. A Brazilian DVD import takes the Welles classic into the digital age and offers an alternative to the out-of-print Arthur Cantor VHS release.
"Chimes at Midnight" is one of the great Shakespearean adaptations and a true 'lost classic'. It's also the last masterpiece that Orson Welles directed in his lifetime, and with 'Citizen Kane,' 'Magnificent Ambersons' and 'Touch of Evil' comprises a quartet of major cinematic works by Welles. Though rarely seen, "Chimes at Midnight" has influenced modern filmmakers. Mel Gibson, for example, admitted the famous "Battle of Shrewesbury" scene influenced his own "Braveheart."
The film is an inventive re-editing and condensation of Shakespeare's plays, spanning from the end of Richard II to the beginning of Henry V. The film shifts the focus from the titular English kings to the character of Jack Falstaff, played by Welles himself in a virtuoso performance. Falstaff's relationship with young Prince Hal (later Henry V) is explored, and uncannily parallels Welles' own experience with the young talents of Hollywood.
There are several great performances, by John Gielgud as Henry IV, Keith Baxter as Hal, Kenneth Branagh look-alike Norman Rodway as Hotspur, Welles regular Jeanne Moreau as Doll Tearsheet, and the great Dame Margaret Rutherford (of "Miss Marple" fame) as Mistress Quickly.
"Chimes at Midnight" can be a jarring experience due to inconsistent film quality, low budget sets and Welles' flair for shock cuts. Once you adapt to the style and limitations, it's a truly rewarding experience. Welles has found a deeply moving story between the lines of Shakespeare's histories.
"Chimes at Midnight" was Welles' final attempt to popularize Shakespeare for the masses. With any luck, this film will eventually reach the wider audiences that Welles failed to achieve in his lifetime.
Orson Welles' Best January 17, 2006
27 out of 30 found this review helpful
Simply stated: His best movie, without diminishing any of his other great ones that everybody may think about. It is amazing how this has not been released in dvd yet in America.
It has the best scenes of medieval war (or for that matter, anytime war) in film history. Pay special attention to it: it's mesmerizing.
It is Shakespeare's best adaptation to a screen, whether it is more faithful or not I don't know.
It has the added value (in my opinion) of watching the wonderful Jean Moreau and Welles together.
It's just a perfect movie, regardless of being an adaptation of Shakespeare's or not, beautiful, deep, tragic and comic. A work of art.
(Also among my favorites of Welles are: The Stranger & The Lady from Shanghai)
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