Richard II (2012)

bbc.co.uk

We’re kicking things off with Richard II.  It was my favorite to read and my favorite of the films (the Tom Hiddleston-ness of the other three notwithstanding.)  The tragedy unrolls slowly and inexorably as the titular young king makes two mistakes – banishing his cousin and then appropriating his inheritance – that will prove his undoing.  Richard isn’t the most likeable Shakespeare character around, and his end is pretty inevitable, but his scenes in the latter half of the play are some of the most heartrendingly sympathetic that I’ve ever read.

 

It’s amazing enough on paper, but Ben Whishaw’s performance as Richard is breathtaking.  He’s foolish, delicate, and easily led – the only thing about him that really projects “kingliness” is his vanity.  It’s little wonder the people take more strongly to his cousin, the noble, commanding Bolingbroke, but my goodness.  As things begin to go wrong for Richard, as he desperately tries to deny it, and as he painfully sinks into the realization of his situation, I can’t take my eyes off him.  Simply masterful.

 

The whole thing is great, but special applause must be given to two scenes.  The first, in which Richard stands on the beach with his lackeys and sees all his hopes erode, is riveting.  I bet it’s almost ten minutes of straight-up dialogue, but it’s just tremendous.  It’s where the famous “let us sit upon the ground and tell sad stories of the death of kings” speech comes from, and it’s devastating to watch Richard realize it’s the end.  And as for the actual scene of his defeat… that’s probably the moment they starting writing Ben Whishaw’s name on the BAFTA.  Oh my gosh – it’s so immediate, so visceral.  Richard has shattered into pieces, and the whole court is there to bear witness.  “I have no name, no title, no, not that name was given me at the font, but ‘tis usurp’d:  Alack the heavy day, that I have worn so many winters out, and know not now what name to call myself!”  I mean, come on!

 

Beyond Ben Whishaw’s overall perfection, this film is stuffed with good British actors.  Rory Kinnear brings strength and dignity to Bolingbroke, and Patrick Stewart is great in his small turn as Bolingbroke’s father/Richard’s uncle.  David Suchet and James Purefoy are both featured, and I recognize Clémence Poésy as Fleur from the Harry Potter movies.  For Who alumni, we have David Bradley (“Dinosaurs on a Spaceship” and An Adventure in Space and Time,) Peter De Jersey (“The Day of the Doctor,”) Lindsay Duncan (“The Waters of Mars,”) Tom Goodman-Hill (“The Unicorn and the Wasp,”) David Morrissey (“The Next Doctor,”) Lucian Msamati (“The Vampires of Venice,”) and Adrian Schiller (“The Doctor’s Wife.”)  Phew!

 

Also, the direction and production design are stunning.  The sets and costumes of Richard’s court drip with royal extravagance, a real feast for the eyes.  And Rupert Goold, who I’m not familiar with but who seems mainly to be a theatre director, does sublime work.  He really knows how to let Shakespeare breathe and not feel overdone; the camera accentuates the acting and dialogue without being intrusive.  Richard II definitely gets The Hollow Crown off to a superb start.

 

Warnings

 

Some violence, including offscreen beheadings.