• HV Films

• Prologue and Act I: BBC, Olivier, Branach comparison/contrast

• BBC Prologue

urging spectators, like urging soldiers; imagination in war and theatre; military theatre

at "suppose" flags and two facing kingdoms come into being

speaker walks toward audience, as camera tracks back, to draw us in

• Olivier Prologue

Music; festivity of whole production; brightness; exaggeration; party atmosphere; music; bright colors--of diplomacy as well as war; Henry is cheerful and happy; the whole experience is festive; clowns are clownish; war is flag waving

Distanced; consciously artificial and metatheatrical; fanciful; audience included; character of Shakespeare as prompter; prologue is oratorical; reaching upward; camera angles are more varied; look down from galleries and up from groundlings; participatory in production from bacstage.

• Branach prologue

darkness to light; match to stage lights; coming into being of the imagined product; light and lighting; Jacobi's tone more brutal and violent, less enthusiastic and admiring; into the darkness

metatheatricality of backstage-frontstage

• Olivier I, i

Use of off stage space for behind the scenes; implicit elaboration of costume and theatre/ performance conceit for politics--explicit in text: prologue and Act IV on "Ceremony"

• BBC I,i

sense of threat to interest--anxiety and disgust

close-up for conspiratorial secrecy, moving even closer

whisper, "I have made an offer...touching France"

hypocrisy emphasized in crossing and kiss

• BBC I,ii

made for TV; lack of color or splendor in court; but excellence of clergy; specifically non-festive

War fever; urging King on; as do the Lords; contrast to the king's reluctance; moderation, amiability, complete self control, and no direct aggression or threat; easy with himself; smug, priggish--element of his holiness; contrast to priests' holiness; King combines lords and priests; plays ball with them, but very hollow and unconvincing

• Branach I,i

vastly shortened; satire against priests left out

Gothic water dripping; darkness

• Branach I,ii

great doors; more wagnerian sense of imposing and dangerous power--Wellesian style

flickering lights; Wagnerian Vikings

Branach much more boyish; both scared and scary; his anger is a rage; the lion arising; the Dauphin's prank gets to him;

ritualistic war preparation

true violence of king's fury; hynotising messenger

Mountjoy and all the French more sympathetic and dignified

• BBC scene notes

• II

Nym and Pistol neither clowns nor grubby; cleaned up

good composition and tracking on conspirators; angle up to king; sidewise shots of conspirators; H's bowing to them; his tears; guard's pike in foreground; king behind them; sounds of gulls shrieking

beautiful simple version of hostess' speech; zooming in to closeup

French court' blue drapery; feeling of hectic chaos instead of lassitude as in Olivier; Charles' pt. of view toward Exeter

• III Harfleur

speech: telling them to gesture; all mid shots, no imaginative camerawork; not very rousing

why? no big enough scene? no larger perspective? no audience? audience necessary for grand proclamations

threat leaves out gory details

garden scene: nice composition with trellis arches; strong contrast; birds singing; sweet charm; very young childlike Katharine

extremely boring portrait of boredom of French; performance drags; HV uninteresting

• IV Nght before and battle

king like boy scout leader; too damn prim and chipper

Williams is good; porky and anxious--boyish in Olivier; gritty and rheumy guy in Branach

St Crispin's speech: just stands there; no rapport with men

battle scene not violent enough

• V

Burgundy is feeble

courtship is static and self conscious

• BBC General critiques

• Henry too compassionate and understanding--gentle, as opposed to steely Hal; soft tone and manner

• spendid as inscrutable--is he sincere or hypocrite as soldier and lover?

• Nation has hostile review--corporate approach; no individuality; not adapted enough; too pedantic

typical attempt to turn "the warlike Harry" into a really nice person; he's a peach

• Olivier scene notes

• II

clowns in rain on performance--broad comedy; cartoon characters; talking to audience directly for essential component of humor

Pistol: Miles Gloriosus; with cock feather; no closeups

Falstaff scene includes very small flashbacks; he's just scary old man

is Cambridge Scroop left out altogether?

• III

Harfleur: craning shot back; great army assemblage; another painting: Breughel: Saul on road to Damascus

Leaves out grim speech to governor of Harf.

language less; emphasis on flowers and romantic music; looking down at soldiers

emphasis on mettle of English

• IV

Disneyesque metacinematics; emphasis on valor of English passages

Williams is young and horrified

silent soliloquy; flickering light; focus on sleeping slodier; pace as very slow and meditative; leaves out bad conscience; no agony

battle sequence; blue sky; beautiful spectacle; tents; loading knight; charges picking up speed

• V

Burgundy as glamorous and melancholy

romantic courtship; holding hands; witchcraft in your lips; we are makers of manners

full circle back to Globe; actress playing Katharine replaced by boy actor with oranges

Olivier: "the goddamn play was telling me what to do"

• Jack Jorgens on Olivier

• "golden and perennially youthful exaltation of man's grim work" 122; emphasis on aesthetic beauty

scene kept relatively static; actors belong to pictorial composition; separate composed pictures

• Olivier's Henry

playing both Henry and Burbage, Sh.'s chief actor

opening clearing of throat; final receipt of applause

Burbage =Henry because of theatricality of Ren. princes and metatheatrical elements of play

throwing crown on throne; Crispian scene, leaping from wagon to horse.

eloquence; generosity, forgiving; rising power of St. Crispin speech; riding his own passion like the cart and horse

night before battle is sobering and deepening experience; becomes man of contemplation as well as action

decimates french language and courtly love tradition: clap hands and there's a bargain 130.

• 1944 changes for propaganda purposes

French are Germans or Vichy French

censors out English role as aggressor

contradictions in Sh. portrait eliminated--sense of guilt; bloodthirstyness

chruchmen are silly instead of sinister and effective

Cambridge Scrdoop and Grey scene omitted

Bardolph execution

cutting prisoners throats; Alexander the pig; joke on Williams

final reference to Henry VI troubles; boy's list of Pistol's exploits

1944; Shakespeare's irony dropped

Henry is risking lives of his men to make France eat a leek (127)

• Some qualifiers still left

Falstaff's return; Pistol as replacement and critic [cf. Branach's elaboration]

unfestive moments during battle--death of boys; Burgundy's speech--but only qualifying

• English vs. French

democratic nature of English in battle and audience

English have deep feelings--Falstaff's death; night before battle vs. French superficiality

France as peopled with beautiful women and shallow, vain, impotent men; addled brained king

war is playful pageant; deluded fools living in fairy-tale world; Herald is braver than Dauphin

• framing structure-metacinema

HV as play within play; May 1, 1600

start out as theatre documentary

theatrical performance on thrust stage

Southampton as illusionistic stage

French court as painting and fantasy

battle--realism of location and thousands of extras; also Eisenstin montage

moves back through storybook court to theatre and music changes from symphonic to theatre music

framing stricture in individual scenes and whole

marriage of cinematic and threatrical styles;

• Branach scene notes

• II

grittier (bad teeth); pathos and aggression--Nym's I cant kiss; Pistol is pathetic not bombastic

naturalistic cliffs of Dover

tension and violence of conspiracy scene; violent door openings and latchings; kings passion; their attempt to fight back rather than repent; but boyish faces; King's intimacy and fury; fingers on eyes

Pain of King Charles; closed eyes; memory of past defeats; hatred of war--contrast to Henry and his son

• III

fury and fire of attack and threat

language lesson; closeups; mischievous and sexy expression; faster movement; more informality; a real princess and woman; what makes for difference; playful

emphasis on suffering of troops and pain of war; hanging bardolph; Harry's grimness; cruelty and lenity irony

wonderful transitions; entrance of Mountjoy

• IV

why is act IV prologue during day? soldiers waiting for action

contrast of english and french camp; art vs. nature

universal largesse of king--in cloak; man for all seasons

king refuses responsibility

ineffective scene; bad lighting; Branach never gets the feeling; no anxiety; sleeplessness not convincing

sharp cut to battle

good music for St. Crispians and effetive camerawork; derivative from Olivier

anxiety and terror of waiting for charge

battle emphasizing not joy but grimness and blood--blood in mouth

no kill the prisoners or Alexander the Pig

emphasis on Pistol's bitterness

excessive length of non-nobis procession and Henry carrying boy; not convincing, though symbolically significant

• V

contrast to gorgeous and stately court scene; all cleaned up

Burgundy's discomfort and decadence

Henry's sexiness; freshness; her detachment and playing hard to get

battle of the sexes

she giggles; he takes her with apparant weakness; he claims her as booty; king's hope for peace

• Branach critiques