Plantiana Yawn. Poorly Filmed Snooze Fest.

Pacionsbo Absolutely Fantastic

Adeel Hail Unshakable, witty and deeply felt, the film will be paying emotional dividends for a long, long time.

Philippa All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

TheLittleSongbird I am quite fond of Shakespeare, and the story of King Lear really compels and moves me. I have to say I was really impressed with this 1983 version of the play. The story still has its emotional impact, I genuinely felt for Lear here, and the dialogue is absolutely wonderful and makes you feel all sorts of different emotions all at once.My only complaint with this King Lear is the music. I do agree it does get melodramatic and over-bearing and it sometimes doesn't fit the scene. Then in some scenes where it is welcome it isn't used at all. In my mind, either have music that enhances the drama or don't use it at all.Aside from that, everything else was superb. I was very taken with the filming, the setting is beautifully evoked as are the costumes and there are some very interesting camera angles and uses of lighting. The direction is strong too, and the performances are top notch. Anna Calder-Marshall, John Hurt, Robert Lindsey, Leo McKern and Colin Blakely all do some really effective work, but it is Laurence Olivier's superb and quite poignant performance in the pivotal role that drives it.Overall, very well done, elevated by the great acting of Olivier and co, and if it hadn't been for the music it would have been note-perfect. 9/10 Bethany Cox

donelan-1 The key to Olivier's performance is also the key to the play. Lear has been an absolute monarch for so long that he thinks of his royal status as a personal attribute. He therefore takes for granted that he will still be treated as a king (without the burden of royal responsibilities) when he has given up the land and authority that are the basis of his power. His attitude recalls the words of Shakespeare's Richard II: "Not all the waters of the rough rude sea can wash the balm from an anointed king." Events in that play prove how wrong he was.Lear's position has also isolated him from the realities of everyday life and genuine human emotion. His tragedy is the price he pays for rediscovering those realities. His nobility is shown by his willingness to acknowledge his error and pay the price: "Oh I have ta'en too little care of this..." Olivier's performance, more than any other on film, shows this process of coming to terms with the realities of human life, and the falsity of court life; and being driven insane by the shock until his recognition of Cordelia brings him back. Olivier shows us what Lear is going through with hundreds of small gestures, movements, inflections of voice, and facial expressions. By comparison, he makes other actors in the role seem wooden, and he reveals how an "old fart" can regain his nobility by facing the truth.

Alexander Barnett In any production of King Lear, we must see the lion in Lear and his raging battle between his age and failing mind. There must be a constant struggle between the Lear of old and the present Lear. If we don't see the towering Lear we're left with the ill, debilitated, sorrowful Lear, the conflict is gone and we never see his basic nature, which is the cause of decline. What makes him so fascinating and exciting (there is nothing exciting about Olivier's Lear) are his tremendous extremes of temperament. First and foremost he must always be a fighter and never give in to adversity. Olivier's Lear could never have been a towering figure, only a whining, feeble, self pitying grouch. In fact, this is exactly how he saw the role. In an interview at the time, he said, "Lear is an old fart". This, about the greatest, most towering and passionate tragic character ever created. The rest of the cast is also quite bad. Despite Gloucester's ignorance, credulity, and misapplied trust, he must have significant potential worth and the innate ability to learn and understand profound lessons about life. If Gloucester, as here portrayed, is loud, crude, obnoxious and stupid, a catharsis is impossible. Edgar comes across as a demented, weird, dull-witted creep, when in fact he should be an ingenuous, credulous, spoiled, inexperienced man who has a vast yet untapped intelligence, understanding and empathy. Albany is portrayed here as a lethargic, pedestrian slow-thinking dunce with no obvious appeal when he should be a sensitive, ethical and intelligent man. Edmund is played in this version as a weak, boyish, obviously villainous child who lacks the charm, confidence, fearlessness, dominance and supreme ability to dupe others. The quality that makes Edmund so convincing is his ability as with Iago)to lose himself completely in his assumed role. He should never slip out of character when duping Gloucester or the others. This actor, by contrast, indicates his contempt when the others aren't looking, something Edmund would never do. The actress playing Regan is determined to dominate Goneril, although the play calls for quite the opposite relationship. The Fool, although not a bad actor, comes across as analytical, sober and objective, when he should be a creature of nature. Pure instinct. Spontaneous, unpredictable and uncontrollable. The director of this pathetic production obviously had no understanding of this magnificent play. Almost all of his directorial choices are absurd: frequently he makes none at all. there are many examples, but citing them would give away the plot. Suffice it to say that the direction is devoid of nuance, passion and intelligence. The blocking is pedestrian: stilted, simplistic, unimaginative and unmotivated. The actors are given no sense of place or circumstance. Unfortunately, Olivier achieved his vision. This King Lear is indeed an old fart.

peacham Olivier turns in one of the most brilliant performances of his career in the title role of Shakespeare's greatest tragedy.His Lear is not a God like King shooting fire from the heavens upon all that cross him,but a petulant Old Man far too aware of His mortality.The subtlety of Olivier's performance shine through every scene,particulary in Act V's "Never,never,never" speech. The production is also blessed with one of the finest supporting casts ever assembled. Diana Rigg and Dorothy Tutin add such bitchy realisim to Regan and Goneral that We can connect them easily with People We have known,Robert Lindsay is a very cunning off the edge Edmund and Leo McKern is touching as the ill fated Duke Of Gloucester.Anna Calder Marshall and John Hurt also shine in their all too brief appearances as Cordelia and Foll. The direction is tight and focused and the mood chilling.This is a Lear to be watched Over and Over for the sheer magnetisim of the performances and the exquisite style of the piece.