Peter Brook has the knack of making his stagings completely his own while at the same time enhancing the character of the play. Thus in "Carmen" he turns it into something of a chamber play, and here in King Lear he stresses the primitivism of the play turning into almost something like a documentary of the dark ages. In especially the first part including the storm he is entirely successful, in spite of the rather experimental expressionism,and the realism of the primitive middle age settings in a landscape of only moors and snows, not a tree in the whole film, is effectively impressing. The actors are superb throughout, and Paul Scofield renders a very interesting interpretation of the old man losing himself with occasional magnificent outbursts of powerful rage. The play is shortened, of course, you can't put all of a Shakespeare play into a film, (I believe the only successful attempt at that was Kenneth Branagh's "Hamlet" and very commendable as such,) while here the text abbreviations unfortunately suffer, the cuts being so obvious. Another flaw is that the articulation is not very good - it was fashionable in the end of the 60s to allow actors to talk on stage like as if they talked naturally, but theatre can't do without rhetoric; and especially with a language like this, which is the very essence of the play, you can't trifle with it, every word has to be pronounced distinctly, or it isn't Shakespeare.
Towards the end the direction gets more sloppy, the intensity loses its grip, while the apocalyptic battle scenes crown the direction. The austere scenery throughout I believe will be what you most will remember of this film adaptation, which couldn't be more impressive, while I think I would prefer the Russian version from about the same time as more convincingly Shakespearian. Since many years I have been waiting for an opportunity to see the Laurence Olivier version from 1983.
Towards the end the direction gets more sloppy, the intensity loses its grip, while the apocalyptic battle scenes crown the direction. The austere scenery throughout I believe will be what you most will remember of this film adaptation, which couldn't be more impressive, while I think I would prefer the Russian version from about the same time as more convincingly Shakespearian. Since many years I have been waiting for an opportunity to see the Laurence Olivier version from 1983.