8/10 (11.02.2018). It's a interesting thing but originally in Shakespeare the Fool is fade out in one moment when the King go away: the symbolism of the fact that the king became a fool. This Fool is masterpiece in this film, just incredible. They both, the tragic of fool and king in the world.
Kozintsev sets Shakespeare's play against the background of social disorder and shows the deterioration of personal relations as a consequence of this situation. Sequences like the beginning of the second part are unforgetable, and Dmitri Shostakovich provides the film with rare used but very powerful music. One of the most noteworthy pieces is the choir underlininig the fighting sequence after Gloucester's dead.
Wisdom and goodness to the vile seem vile:/ Filths savour but themselves... Saw this years ago, remember liking it, but aside from rocky widescreen landscapes, the trouble of reading Shakespearean subtitles, and Jüri Järvet's white mane, little else. What years can do! How could I have failed to be roused by old Kozintsev's dynamic direction, by Shakespeare and Shostakovich! Younger me at times just missed the boat.
Oh sweet mother of God! I'm sorry for this heresy, well I actually ain't sorry, but this felt so stale, lifeless and uninspired , and I usually love the good old Soviet cinema. It's like Shakespeare is a burden too heavy to bare for most directors, sucking them of all the life and skill they might possess resulting into something average or below average,and most of the cinematic adaptations are so. Akira Kurosawa
"the tongue, that wild meat, that grows in the wound, in the open wound of the mouth, that feeds on deceitful truth, the tongue, that externally beating, bared heart, that naked blade, a defenseless weapon, that gag, stifling defeated uprisings of words, that animal tamed daily by human teeth, that inhuman thing which grows in us and outgrows us, that animal fed with the poisoned flesh of the body, that red flag we
Earnest and melancholic Russian version of the Shakespeare classic. Cinematically beautiful with its crisp precise lensing and editing. Casting is merely proficient with some performers giving in to the theatricality of the source instead of looking for truth in performance. Interesting that it was not the only film adaptation of the same play that year.