To understand this version you really have to understand King Lear in great depth. The technicalities that DC1977 writes on, are there for a reason, which would not be immediately obvious if you were seeing this play without reading the work. (Remember too, to read the Conflated text, as you will miss parts if reading only the Quarto or Folio).
King Lear follows Lear, as he comes to recognise his madness and the freedom that this knowledge gives. Through the text, Lear has moments of great confusion which are represented by the camera work: slightly out of frame and jarring at certain moments.
His greatest realisation occurs during the tempest, where Lear is able to be alone for the first time in his life, standing, bawling at the storm. The camera work here does quite frequently black out completely, with only a lightning strike to show anything on screen. This is actually more realistic that any other method that could be used. DC1977, it is the middle of the tempest where there is no electricity. There would be a great deal of cloud cover any way, so this blackness actually works when you think about it. Another aspect is letting the audience not see. Throughout the text there is great mention of eyes. It is the truth that Lear comes to see towards the end, that he has been living a lie in believing in the lies his subjects feed him constantly. Lear has been blind for the entirety of his life up until this point. The tempest occurs just as Lear comes out of this fake reality. It eventually emerges into startling white, as we see Lear carrying Cordelia across the sand. It is then that he sees the truth.
The camera work is truly astounding if you have read the work and grasp the greater underlying concepts at work in the play. If you haven't read it, or haven't thought about it, well... you will form an opinion like DC1977's about this film version.
Please, please see this version. It may take you a few minutes to be absorbed, but once you are it will tear your heart out and leave you exhausted. This movie proves that Shakespeare's works are translatable to the screen.
King Lear follows Lear, as he comes to recognise his madness and the freedom that this knowledge gives. Through the text, Lear has moments of great confusion which are represented by the camera work: slightly out of frame and jarring at certain moments.
His greatest realisation occurs during the tempest, where Lear is able to be alone for the first time in his life, standing, bawling at the storm. The camera work here does quite frequently black out completely, with only a lightning strike to show anything on screen. This is actually more realistic that any other method that could be used. DC1977, it is the middle of the tempest where there is no electricity. There would be a great deal of cloud cover any way, so this blackness actually works when you think about it. Another aspect is letting the audience not see. Throughout the text there is great mention of eyes. It is the truth that Lear comes to see towards the end, that he has been living a lie in believing in the lies his subjects feed him constantly. Lear has been blind for the entirety of his life up until this point. The tempest occurs just as Lear comes out of this fake reality. It eventually emerges into startling white, as we see Lear carrying Cordelia across the sand. It is then that he sees the truth.
The camera work is truly astounding if you have read the work and grasp the greater underlying concepts at work in the play. If you haven't read it, or haven't thought about it, well... you will form an opinion like DC1977's about this film version.
Please, please see this version. It may take you a few minutes to be absorbed, but once you are it will tear your heart out and leave you exhausted. This movie proves that Shakespeare's works are translatable to the screen.