2. Chimes at Midnight (1966)
Perhaps my favourite adaptation of the history plays, though, is Orson Welles Chimes at Midnight. A stunning smooshing together of the Henriad, with little bits and pieces from The Merry Wives of Windsor. Originally fairly unpopular, it has now become acknowledged as one of the best adaptations of Shakespeare ever produced, and rightfully so. Chimes at Midnight is mainly based upon the two middle plays of the Henriad, Henry IV Parts I & II which tell the sad tale of the embattled reign of Henry IV, but also tell the slightly lighter tale of the future Henry V and his surrogate father Falstaff. Falstaff is the main character that Chimes at Midnight focuses on, turning him from an incredibly important backing character to the undeniable driving force of the entire production. This is a very sensible decision. Falstaff is one of Shakespeares most beloved characters, and also his best. By putting the focus of the film onto him Welles is highlighting just how wonderful he is, and creating a masterpiece besides. The middle two plays of the Henriad can, through little fault of their own, often be a little boring when adapted but by changing the focus and combining the two Welles does a very clever trick, and makes them captivating. This captivation owes a great deal to Welles direction. Welles is yet another person that understands and adores Shakespeare, and this is perfectly obvious. Combining this knowledgeable adoration with Welles noted directing talents creates something beautiful, a near perfect piece of work. Chimes at Midnight just has the sense of a classic, the indefinable bit of magic that makes for something absolutely brilliant. It is dark but charming, muddy and violent but somehow hopeful. Everybody knows what Welles aims are, and so everybody knows how to direct their performances. Its this level of control that allows Falstaff to be front and centre, changing the plays quite a bit, while still making a viable film adaptation. Welles performance is also partially responsible for just how captivating it is, though. He plays the man that hes made a main character, Falstaff, and produces a brilliant performance that provides the cornerstone of the whole adaptation. Hes hilarious, getting the gruff humour of Falstaff down absolutely perfectly. He also isnt afraid to go for the touching moments, though, exposing what makes Falstaff so much more than a one note comic character. His scenes with Doll, his technical love interest, strike right at the heart. And as for the scene at the end of the film where Henry, the boy who was basically his son, ascends to king He provides possibly the best performance of that scene that Ive ever seen, and its practically a privilege to watch. A perfect film comes along rarely, and a perfect adaptation of Shakespeare even rarer, but Chimes at Midnight manages to be both. Its become the base version of a lot of adaptations of the Henriad, and the base version for a lot of Shakespeare plays overall. Its brilliantly directed and acted by Welles, and manages to be both hilarious and heartbreaking in equal measure. It shows how deeply unconventional Shakespeare can be, and how that adaptability can lead to some of the best films ever made.