two films of Shakespeare's King Lear

Another serviceman--a lesser cardinal, perhaps--might vex called it a day then, content to exit on a rising note" ("Olivier" 1). Elsewhere, the critic refers to Olivier's achievement as "the most(prenominal) tragically vain and foolish Lear" ("Olivier" 1). Such commentary points to Olivier's Lear as a star turn, but the evidence of the bring as a whole is that there is ample emphasis on presenting King Lear as a fully realized narrative. one(a) index of this is what one could say is a stellar encouraging cast. Another and more important index, however, is that the mise-en -scene serves the narrative more than as (say) flattering closeups. That is, the concern is to tell the story and explore the consequences of sealed human behavior.

The decorum of the mise-en-scene is established in the first scene, when Lear undertakes to truss court and divide his kingdom. The action that follows, as demonstrated by the actors' interpretation, shows the increase and diffusion of emotion and a progressive transformation, or more exactly deterioration, from decorum to chaos, from castle to wood to assorted locations on the stormy heath. Indeed, the style of the output signal seems very ofttimes a matter of change: emotional, physical, affable. The increase of the storm, for example, parallels and aggravates the

Dieckmann, Katherine. (1993, October). Godard's counter-memory. Art in America 81: pp. 65-6.

The film is like King Lear in one sense: a disturbing bleakness of vision, but not for the same reason, and, one feels, not for the reason that even Godard thinks. When Godard cuts to Don Learo and Cordelia in the primarily part of the film, one has the impression that the fragile old man is angry at his life and in decline of mental and physical health. This apparently is what intrigues William Shakespeare Jr., who insinuates himself into their lives with a view toward Finding center In Learo's Experience, and so better Understand The Play.

But if it is the lesson that the film and the behave as Godard conceives them are studies of wretchedness, hopelessness, foolishness, and waste, it is also truthful that they are so for vastly different reasons. For only the play reaches pity and terror through narrative, and only the film takes on a tone of unmediated cow dungterness, anger, and hateful cynicism, exploiting the narrative, catch as catch can. Koehler describes the final product as "a sorrow diary of an ambitious film failing and how everyone in the production knew full well that it was collapsing before their eyes--just like a king's imperium in rigor mortis. You felt tragic for the cast and crew, and sad for the film" (Koehler 32).

To say that the original is tragedy and that Godard's film is not is to give the film too much credit, even as an exercise in anti-narrative, for being engaged by the generator material. Nor by the way does the film seem to be a commentary on (say) the impossibility of reaching tragedy in the cinema of postmodern culture, a notion that, one feels, Godard is just the chap to tackle on film. Rather, the film is nothing so much as compelling evidence of a depiction deal gone sour in innumerable ways, a diatribe on the squalid vicissitudes of a low-budget trait masquerading as art-house cinema, avec la participation d'enfant terrible who's a bit
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