Cinema
RICHARD III. (Leicester Square.) WHEN a film is long awaited, much Talked of, and the appetite for it is whetted by snippets in the papers, it is apt to prove disappointing. Not so Richard ///. Under Laurence Olivier's directorship, and with him in the name part, this picture is, to use a tiresome but in this case appropriate word, thrilling. In spite of its length, which is inordinate, it remains in a continual state of triumph; dramatically excit- ing, superbly acted, a joy to ear and eye. Presented simply, without recourse to trickery or decorative extravagances, it is yet rich in understanding, each member of its distin- guished cast bringing to his part that touch of inspiration which has already made him a champion in his field. With what skill does Sir Laurence establish his characters, placing them before us at Edward IV's coronation so that we may trace in their watching, silent faces the personalities of the men behind them. How cleverly does he, backed by William Walton's fine music, set a scene's mood, the dark shadow of a hat, a snow-scene through a win- dow, the rush of flambeaux towards the throne. With the subtlest implications he appeals to our own imagination and perspicacity. The Shakespearean sequences, linked we are told by words of Cibber, fold with silk smoothness into one another, and brushed with their direc- tor's magic they make a pattern of pure pleasure.
Sir Laurence, incarnating that evil genius, that treacherous, witty, spleenful and ever- unrepentant villain, plays Richard in a spirit verging on the Victorian melodramatic. He savours his wickedness with relish, sharing, in close-up, his cynical and mirthful contempt for his victims. Gleefully he takes perverted joy in the world's dislike of him, revels in his plots, glories in his hellish ministry. Rage he knows, and despair, but never gloom or self-pity. On the plane of perfidy Sir Laurence's perform- ance has infinite variety, his appearance, man- ner and voice holding to the dominant key to which he adds embellishments in semi-tones and trills. With villainy oozing from every pore of his malformed body Olivier's Richard is irresistibly attractive and makes "plausible the Lady Anne's disgraceful infatuation for her husband's murderer. Claire Bloom's interpreta- tion of a woman in the throes of a passion half repulsive to her and always unhappy, is exem- plary, and the order of the text, transposed to its advantage, aids her by spreading her un- willing entrancement over a longer period.
It would be nice to make mention of every member of the cast, but space forbids all but a grateful nod of thanks to the following. To John Gielgud for his sad, sensitive Clarence; to Ralph Richardson for his wily Buckingham; to Cedric Hardwicke, whose Edward is a per- fect blend of dupe and peacemaker; to Laurence Naismith as Stanley, Norman Wool- land as Catesby, and Nicholas Hannen as the weakling Archbishop. Also to Mary Kerridge, the unfortunate Queen, and Pamela Browne, who, though silent, immaculately portrays the life purpose of Mistress Shore.
VIRGINIA GRAHAM
Previous page
