Sir John Falstaff (the Shakespearian character superbly portrayed by Orson Welles), is a charming although drunken and obese companion of young Henry V. At first Prince Hal and Falstaff lead a life of debauchery and idleness, but as the prince sees the import of his destiny as the future king of England, Falstaff fearfully believes their relationship might be heading for trouble. Welles’ marvelous portrayal of this jovial but tragic character and strong acting throughout make Chimes at Midnight an exceptionally worthwhile film. —Hollywood’s Attic
The prodigy son of an inventor and a musician, Welles was well-versed in literature at an early age, particularly Shakespeare, and, through the unusual circumstances of his life (both of his parents died by the time he was 12, leaving him with an inheritance and not many family obligations), he found himself free to indulge his numerous interests, which included the theater. He was educated in private schools and traveled the world. He found it tougher to get onto the Broadway stage, and get a job with Katharine Cornell. He later became associated with John Houseman, and, together, the two of them set the New York theater afire during the 1930s with their work for the Federal Theatre Project, which led to the founding of the Mercury Theater. The Mercury Players later graduated to radio, and their 1938 “War of the Worlds” broadcast made history when thousands of listeners mistakenly believed aliens had landed on Earth. In 1940, Hollywood beckoned, and Welles and company went west to… read more
Welles’ sought-after take on the Henriad is uneven, but its best bits really are quite impressive. The cast overall is exceptional but Welles in particular is absolutely towering as the eponymous Jack Falstaff; behind the camera, his presence is felt just as much, with his technical mastery being especially amazing here. But all that said, I do still consider his Othello to be the best adaptation of the Bard he did.
A ramshackle triumph. It works because it embraces the boozy, whoring, and fundamentally anti-establishment spirit of Shakespeare, emphasises these elements, and makes a film commensurate in style with the playright's genius. And it was Welles's favourite of his own films.
Hard to see Welles configuration of Shakespeare's Falstaff character, with the grand fat man making fine use of his terrific voice, and amazing eye for black and white light compositions. This deserves a Criterion restoration.
The issue features a dossier on Orson Welles. Also: Remembering Doe Avedon.
This film has possibly the most flawless cinematography I’ve ever seen. Not to mention the fantastic acting, and the battle scene is just superbly articulated, on par with that of Eisenstein Alexander… read review
To many this is Welles’ best film and not that big movie he made at RKO in the early 40s. CHIMES AT MIDNIGHT is an adaptation of the Henriad, Four History plays beginning from Richard II extending… read review
Considering that just about everything Orson Welles directed after Citizen Kane was compromised by studio interference and/or budgetary constraints, it’s remarkable that he made as… read review