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 many brilliant movies as he did. Chimes at Midnight is one of his very best. Magnificent yet flawed, so well does this film mirror both its creator and the character he plays in it, lovable rogue Sir John Falstaff, those very flaws almost become virtues. Though it is directed, photographed and edited with extraordinary skill, the film contains some of the sloppiest dialogue synchronisation I have ever come across. A restoration of the film has long been rumoured, but such is the quantity of slapdash dubbing, short of creating a brand new soundtrack, no amount of judicious tweaking is ever likely to completely reunite Shakespeare’s words with the lips that are uttering them. In spite of this, in spite of the difficult language and the dizzying editing style which exhilarated but ultimately exhausted me, Chimes at Midnight is a wonderful movie.

2 August, 2011: As a postscript, having just seen the newly restored Chimes at Midnight – on limited release in the UK at the moment – I have to admit that I completely underestimated the capabilities of the modern film restorer. They really have worked miracles in cleaning up and synchronising the soundtrack, so much so that it is now possible for me to discern that considerably less of the dialogue was overdubbed than I had always imagined. The Battle of Shrewsbury and the expression on Falstaff’s face when he is betrayed by Prince Hal are worth the price of admission alone, but there’s so much more to marvel at besides. Please go and see this movie if you get the chance.