'Campanadas a Medianoche' ('Chimes at Midnight')

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'Campanadas a Medianoche' ('Chimes at Midnight')

FILM 'Campanadas a Medianoche' WASHINGTON, D.C. ('Chimes at Midnight') Sat, June 07, 2014 7:30 pm Venue AFI Silver Theatre and Cultural Center, 8633 Colesville Rd, Silver Spring, MD 20910 View map Phone: 301-495-6700 Admission Buy tickets More information AFI SIlver Theatre Credits Presented by AFI SIlver Theatre in To commemorate the 450th anniversary of the birth of collaboration with the British Council. Shakespeare, AFI Silver commences the first of a 3-part series with filmed adaptations of his plays, as well as a wide variety of films that draw upon Shakespearean source material. Orson Welles’ unique and inventive take on Shakespeare’s Falstaff cribs from the handful of plays in which the beloved character appears to create a single work with Falstaff as the star, played by Welles with great comic brio and perhaps autobiographical pathos. The cast includes French icon Jeanne Moreau as Doll Tearsheet, Sir John Gielgud as the vexed King Henry IV and local Shakespeare Theatre regular Keith Baxter as Prince Hal. ‘CAMPANADAS A MEDIANOCHE’ (‘CHIMES AT MIDNIGHT’) ■ France / Spain / Switzerland, 1965, B&W, 115 minutes, DCP. ■ Directed by Orson Welles, from plays by William Shakespeare; ■ Produced by Ángel Escolano, Emiliano Piedra, Harry Saltzman. Followed by: ‘LAS VERSIONES DE CAMPANADAS A MEDIANOCHE DE ORSON WELLES’ ■ This documentary examines the complicated production history of Orson Welles’ Chimes at Midnight, which resulted in various versions being Embassy of Spain – Cultural Office | 2801 16th Street, NW, Washington, D.C. 20009 | Tel: (202) 728-2334 View this event online: https://www.spainculture.us/city/washington-dc/campanadas-a-medianoche-chimes-at-midnight/ Created on 09/24/2021 | Page 1 of 2 released in different parts of the world. ■ Directed by Luciano Berriatúa. Spain, 2012, B&W, 18 minutes, DCP. In Spanish with English subtitles. Embassy of Spain – Cultural Office | 2801 16th Street, NW, Washington, D.C. 20009 | Tel: (202) 728-2334 View this event online: https://www.spainculture.us/city/washington-dc/campanadas-a-medianoche-chimes-at-midnight/ Created on 09/24/2021 | Page 2 of 2.

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Orson Welles's Deconstruction of Traditional Historiographies In
“How this World is Given to Lying!”: Orson Welles’s Deconstruction of Traditional Historiographies in Chimes at Midnight Jeffrey Yeager, West Virginia University ew Shakespearean films were so underappreciated at their release as Orson Welles’s Chimes at Midnight.1 Compared F to Laurence Olivier’s morale boosting 1944 version of Henry V, Orson Welles’s adaptation has never reached a wide audience, partly because of its long history of being in copyright limbo.2 Since the film’s debut, a critical tendency has been to read it as a lament for “Merrie England.” In an interview, Welles claimed: “It is more than Falstaff who is dying. It’s the old England, dying and betrayed” (qtd. in Hoffman 88). Keith Baxter, the actor who plays Prince Hal, expressed the sentiment that Hal was the principal character: Welles “always saw it as a triangle basically, a love story of a Prince lost between two father figures. Who is the boy going to choose?” (qtd. in Lyons 268). Samuel Crowl later modified these differing assessments by adding his own interpretation of Falstaff as the central character: “it is Falstaff’s winter which dominates the texture of the film, not Hal’s summer of self-realization” (“The Long Good-bye” 373). Michael Anderegg concurs with the assessment of Falstaff as the central figure when he historicizes the film by noting the film’s “conflict between rhetoric and history” on the one hand and “the immediacy of a prelinguistic, prelapsarian, timeless physical world, on the other” (126). By placing the focus on Falstaff and cutting a great deal of text, Welles, Anderegg argues, deconstructs Shakespeare’s world by moving “away from history and toward satire” (127).
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Orson Welles: CHIMES at MIDNIGHT (1965), 115 Min
October 18, 2016 (XXXIII:8) Orson Welles: CHIMES AT MIDNIGHT (1965), 115 min. Directed by Orson Welles Written by William Shakespeare (plays), Raphael Holinshed (book), Orson Welles (screenplay) Produced by Ángel Escolano, Emiliano Piedra, Harry Saltzman Music Angelo Francesco Lavagnino Cinematography Edmond Richard Film Editing Elena Jaumandreu , Frederick Muller, Peter Parasheles Production Design Mariano Erdoiza Set Decoration José Antonio de la Guerra Costume Design Orson Welles Cast Orson Welles…Falstaff Jeanne Moreau…Doll Tearsheet Worlds" panicked thousands of listeners. His made his Margaret Rutherford…Mistress Quickly first film Citizen Kane (1941), which tops nearly all lists John Gielgud ... Henry IV of the world's greatest films, when he was only 25. Marina Vlady ... Kate Percy Despite his reputation as an actor and master filmmaker, Walter Chiari ... Mr. Silence he maintained his memberships in the International Michael Aldridge ...Pistol Brotherhood of Magicians and the Society of American Tony Beckley ... Ned Poins and regularly practiced sleight-of-hand magic in case his Jeremy Rowe ... Prince John career came to an abrupt end. Welles occasionally Alan Webb ... Shallow performed at the annual conventions of each organization, Fernando Rey ... Worcester and was considered by fellow magicians to be extremely Keith Baxter...Prince Hal accomplished. Laurence Olivier had wanted to cast him as Norman Rodway ... Henry 'Hotspur' Percy Buckingham in Richard III (1955), his film of William José Nieto ... Northumberland Shakespeare's play "Richard III", but gave the role to Andrew Faulds ... Westmoreland Ralph Richardson, his oldest friend, because Richardson Patrick Bedford ... Bardolph (as Paddy Bedford) wanted it. In his autobiography, Olivier says he wishes he Beatrice Welles ..
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Shak Shakespeare Shakespeare
Friday 14, 6:00pm ROMEO Y JULIETA ’64 / Ramón F. Suárez (30’) Cuba, 1964 / Documentary. Black-and- White. Filming of fragments of Shakespeare’s Romeo and Juliet staged by the renowned Czechoslovak theatre director Otomar Kreycha. HAMLET / Laurence Olivier (135’) U.K., 1948 / Spanish subtitles / Laurence Olivier, Eileen Herlie, Basil Sydney, Felix Aylmer, Jean Simmons. Black-and-White. Magnificent adaptation of Shakespeare’s tragedy, directed by and starring Olivier. Saturday 15, 6:00pm OTHELLO / The Tragedy of Othello: The Moor of Venice / Orson Welles (92’) Italy-Morocco, 1951 / Spanish subtitles / Orson Welles, Michéal MacLiammóir, Suzanne Cloutier, Robert Coote, Michael Laurence, Joseph Cotten, Joan Fontaine. Black- and-White. Filmed in Morocco between the years 1949 and 1952. Sunday 16, 6:00pm ROMEO AND JULIET / Franco Zeffirelli (135’) Italy-U.K., 1968 / Spanish subtitles / Leonard Whiting, Olivia Hussey, Michael York, John McEnery, Pat Heywood, Robert Stephens. Thursday 20, 6:00pm MACBETH / The Tragedy of Macbeth / Roman Polanski (140’) U.K.-U.S., 1971 / Spanish subtitles / Jon Finch, Francesca Annis, Martin Shaw, Nicholas Selby, John Stride, Stephan Chase. Colour. This version of Shakespeare’s key play is co-scripted by Kenneth Tynan and director Polanski. Friday 21, 6:00pm KING LEAR / Korol Lir / Grigori Kozintsev (130’) USSR, 1970 / Spanish subtitles / Yuri Yarvet, Elsa Radzin, GalinaVolchek, Valentina Shendrikova. Black-and-White. Saturday 22, 6:00pm CHIMES AT MIDNIGHT / Orson Welles (115’) Spain-Switzerland, 1965 / in Spanish / Orson Welles, Keith Baxter, John Gielgud, Jeanne Moreau, Margaret 400 YEARS ON, Rutherford, Norman Rodway, Marina Vlady, Walter Chiari, Michael Aldridge, Fernando Rey. Black-and-White. Sunday 23, 6:00pm PROSPERO’S BOOKS / Peter Greenaway (129’) U.K.-Netherlands-France, 1991 / Spanish subtitles / John Gielgud, Michael Clark, Michel Blanc, Erland Josephson, Isabelle SHAKESPEARE Pasco.
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Prince Hal and the Body Falstaff
Prince Hal and the Body Falstaff: Theatre as Psychic Space in Shakespeare’s 1&2 Henry IV by Elise Denbo (Queensborough Community College, City University of New York) ABSTRACT Aligning psychoanalytic and embodiment approaches, this paper focuses on 1&2Henry IV using Julia Kristeva’s concept of the imaginary father, a ‘maternal-paternal conglomerate,’ as a third space within primary-narcissism. While Hal’s ‘education’ has been analyzed in relation to dualities of order and disorder, few, if any have considered Falstaff as an intrapsychic figure of intimate revolt who supports the crafting of psychic- theatrical-imaginary space. Hal’s youthful narcissism and his ability to connect with the popular voice are explored as a result of Falstaff’s presence in the ‘prehistory’ of his kingship. Falstaff’s verbal copia, his ‘belly of tongues,’ recalls the unruly female tongue as the site of disorder, but also the mother tongue that confers national identity as a return to the vernacular richness of the land and its people. While Hal is able to organize the various dialects and settings of 1&2HenryIV, it is the body Falstaff who impregnates the play. Keywords: Kristeva, Prince Hal and Falstaff, Psychic Space, Early Modern Theatre, Primary Narcissism, Shakespeare To cite as: Denbo, Elise 2020, “Prince Hal and the Body Falstaff: Theatre as Psychic Space in Shakespeare’s 1&2 Henry IV,” PsyArt, pp. 177-220. Prince Hal and the Body Falstaff: Theatre as Psychic Space in Shakespeare’s 1&2 Henry IV Prince Harry: I know you all, and will a while uphold The unyoked humour of your idelness.
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1 Orson Welles' Three Shakespeare Films: Macbeth, Othello, Chimes At
1 Orson Welles’ three Shakespeare films: Macbeth, Othello, Chimes at Midnight Macbeth To make any film, aware that there are plenty of people about who’d rather you weren’t doing so, and will be quite happy if you fail, must be a strain. To make films of Shakespeare plays under the same constraint requires a nature driven and thick-skinned above and beyond the normal, but it’s clear that Welles had it. His Macbeth was done cheaply in a studio in less than a month in 1948. His Othello was made over the years 1949-1952, on a variety of locations, and with huge gaps between shootings, as he sold himself as an actor to other film- makers so as to raise the money for the next sequence. I’m going to argue that the later movie shows evidence that he learned all kinds of lessons from the mistakes he made when shooting the first, and that there is a huge gain in quality as a consequence. Othello is a minor masterpiece: Macbeth is an almost unredeemed cock-up. We all know that the opening shot of Touch of Evil is a virtuoso piece of camerawork: a single unedited crane-shot lasting over three minutes. What is not often stressed is that there’s another continuous shot, less spectacular but no less well-crafted, in the middle of that film (it’s when the henchmen of Quinlan, the corrupt cop, plant evidence in the fall-guy’s hotel room). What is never mentioned is that there are two shots still longer in the middle of Macbeth .
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Worksheet on Grammar
Shakespeare Henry IV Part 1 SYNOPSIS The First Part of Henry the Fourth After deposing Richard II, Henry Bolingbroke has become king as Henry IV. He has a guilty conscience about how he took the throne and his position is threatened by rebellions, particularly of Northumberland and his son Henry Percy, nicknamed Hotspur for his ebrav and impetuous character. They support the claim to the throne of Hotspur's brother‐in‐law Edmund Mortimer, who is also supported by the Welsh Owen Glendower. These political scenes alternate with others showing the dissolute life led by Henry's son, known as Harry or Hal. Hal spends his time in the ale‐houses and brothels of Eastcheap in London, where his closest companions are a group of rogues and thieves around a fat drunkard called Sir John Falstaff. Falstaff organizes a highway robbery, but when he and his companions have stolen the money, Hal and another companion steal it from them in turn. Afterwards Falstaff, who has not recognized Hal, claims that they have been robbed by a far larger gang. When Hal is summoned by his father, he and Falstaff play the scene they think might happen when his father asks about his way of life, and Falstaff hopes that Hal will never repudiate their friendship. Under the threat from the rebels, Hal returns to his father and joins him in the fighting, while Falstaff recruits a ragged troop of soldiers. In the battle of Shrewsbury, the King defeats his enemies, and Hal kills Hotspur. The less heroic side of the fighting is shown by Falstaff and his friends.
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ORSON WELLES As FALSTAFF in CHIMES at MIDNIGHT
ORSON WELLES AS FALSTAFF IN CHIMES AT MIDNIGHT “ If I wanted to get into heaven on the basis of one movie, that’s the one I would offer up. I think it’s because it is, to me, the least flawed . I succeeded more completely, in my view, with that than with anything else.” —Orson Welles “Chimes at Midnight . may be the greatest Shakespearean film ever made, bar none.” —Vincent Canby, The New York Times “ He has directed a sequence, the Battle of Shrewsbury, which is unlike anything he has ever done, indeed unlike any battle ever done on the screen before. It ranks with the best of Griffith, John Ford, Eisenstein, Kurosawa—that is, with the best ever done.” —Pauline Kael Spain • 1966 • 116 Minutes • Black & White • 1.66:1 Booking Inquiries: Janus Films Press Contact: Ryan Werner [email protected] • 212-756-8761 [email protected] • 917-254-7653 CHIMES AT MIDNIGHT JANUS FILMS SYNOPSIS The crowning achievement of Orson Welles’s later film career,Chimes at Midnight returns to the screen after being unavailable for decades. This brilliantly crafted Shakespeare adaptation was the culmination of Welles’s lifelong obsession with the Bard’s ultimate rapscallion, Sir John Falstaff, the loyal, often soused childhood friend to King Henry IV’s wayward son Prince Hal. Appearing in several plays as a comic supporting figure, Falstaff is here the main event: a robustly funny and ultimately tragic screen antihero played by Welles with towering, lumbering grace. Integrating elements from both Henry IV plays as well as Richard II, Henry V, and The Merry Wives of Windsor, Welles created an unorthodox Shakespeare film that is also a gritty period piece, which he called “a lament .
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Shakespeare, Orson Welles, and the Hermeneutics of the Archive
Brigham Young University BYU ScholarsArchive Theses and Dissertations 2016-06-01 Shakespeare, Orson Welles, and the Hermeneutics of the Archive Benjamin Lynn Wagner Brigham Young University Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the English Language and Literature Commons BYU ScholarsArchive Citation Wagner, Benjamin Lynn, "Shakespeare, Orson Welles, and the Hermeneutics of the Archive" (2016). Theses and Dissertations. 6064. https://scholarsarchive.byu.edu/etd/6064 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Shakespeare, Orson Welles, and the Hermeneutics of the Archive Benjamin Lynn Wagner A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Brandie Siegfried, Chair Rick Duerden Daniel Muhlestein Department of English Brigham Young University June 2016 Copyright © 2016 Benjamin Lynn Wagner All Rights Reserved ABSTRACT Shakespeare, Orson Welles, and the Hermeneutics of the Archive Benjamin Lynn Wagner Department of English, BYU Master of Arts This paper examines certain theoretical underpinnings of the historical processes by which Shakespeare’s history plays became the de facto collective memory of the events they depict, even when those events are misrepresented. The scholarly conversation about this misrepresentation has heretofore centered on Shakespeare’s potential political motivations. I argue that this focus on a political, authorial intent has largely ignored the impact these historical distortions have had over the subsequent 400 years.
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Orson Welles 100 at the Film Forum
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Shakespeare, Cinema, and Linguistic Discourse in Chimes at Midnight and My Own Private Idaho Cameron Butt
Shakespeare, Cinema, and Linguistic Discourse in Chimes at Midnight and My Own Private Idaho Cameron Butt By examining Orson Welles’s Chimes at Midnight (1965) and Gus Van Sant’s My Own Private Idaho (1991), this essay explores how adapt- ing Shakespeare’s language for a cinematic medium plays out a socio- logical shift from one literary discourse to another. One discourse is that of the logocentric academic community—the language of the few. The other is the unbridled and unsophisticated lingua franca—the language of the many.1 The low (popular) discourse often occupies a symbolic space below the high (élite) discourse in a hierarchical pyramid.2 Remarkably, Shakespearean theatre transcends this schematic order, occupying a unique space in our cultural psyche. His dramatic language is at once high and low, dissected and revered by academics while reproduced unconsciously by the quotidian utterances of the masses.3 The phenomenal discursive duality that Shakespeare embodies is in effect what makes his plays so adaptable to cinema.4 While early film directors used Shakespeare’s cultural capital to legitimize their medium, Van Sant and Welles (among others) use Shakespeare to criticize the establishment.5 Idaho, for instance, uses Shakespeare both to legitimize Van Sant’s story and to criticize the 1 For a discussion of how Shakespeare’s language has become the “lingua franca of modern cultural exchange”, see Garber (3). For discussions of Shakespeare and popular culture, see Howlett, Jess-Cooke, and MacCabe. 2 For the purposes of this essay, I shall ignore the inherent social justice issue of placing one discourse above the other.
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Staging Orson Welles
STAGING ORSON WELLES Matthew Christopher Gretzinger A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2010 Committee: Dr. Jonathan Chambers, Advisor Dr. Stephannie Gearhart Graduate Faculty Representative Dr. Scott Magelssen Dr. Cynthia Baron ii ABSTRACT Dr. Jonathan Chambers, Advisor In this study I consider the legacy of Orson Welles as a stage figure puppeted in a collective theatre of memory. The study builds on Jonathan Rosenbaum's observation that Welles remains a "mythical and ideological creature" and a "site for the acting out of various fantasies." Referencing Marvin Carlson's The Haunted Stage and Joseph Roach's Cities of the Dead, I apply their insights to three plays that feature Welles as a pivotal character: Jason Sherman's It's All True, Austin Pendleton's Orson's Shadow, and the Naomi Iizuka-Anne Bogart collaboration, War of the Worlds. My central concern is to consider the ways we remember and stage Welles and, in light of Rosenbaum's insight, to also question the myths and ideologies those stagings act out. A corollary to my interrogation of Welles's stage figure as a site of memory is my conviction that the collective memory of Welles's life and work might be staged more usefully. The plays considered approach Welles from different perspectives. However, all – to varying degrees – assess negative judgments. Welles's legacy has been subject to conflicting interpretations, and the arbitration of his historical and remembered significance is a process with important consequences.
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Chimes at Midnight Brian Mcclinton
Humanism Ireland • No 159 • July-August 2016 Film Chimes at Midnight Brian McClinton OR many decades, Citizen self-refutation; for example, what is Kane was regarded as Orson honour? I would suggest, though, FWelles’s masterpiece, and many that Falstaff is more a parody of critics placed it at the top of their Socrates and indeed a parody of list of the ten greatest movies. In Shakespeare. He is not the shaker of recent years, however, it has slipped the spear of wisdom but carries a down many lists, and arguably it is false staff, despite his wit, vitality not even Welles’s best film. That and imaginativeness. He is the accolade surely goes to Chimes at epitome of the morally reprehensible Midnight, originally released in but loveable rogue. 1966 but not widely distributed and for many years seen only on a rather Chimes at Midnight, like Welles’s blurry Spanish DVD. Now, however, Macbeth, is a Shakespearean film on its 50th anniversary, a restored noir, shot in black and white, which print has been issued by Mr Bongo, blends comedy with violence, a Brighton based company betrayal and loss. The title refers to specialising in world cinema and Falstaff’s reminiscence of the heady music. Merry Wives of Windsor, and bits days of his youth. Welles includes it from Holinshed’s Chronicles read by at the beginning, as he and his friend The film was originally panned by Ralph Richardson. The tragicomedy Justice Shallow trudge through the several reviewers. In March 1967, focuses on Falstaff and his snow in a scene that looks straight Bosley Crowther, the film critic for friendship with Prince ‘Hal’ (Keith out of a Bruegel painting.
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