The possibly greatest play by the author has received much criticism and objections during the centuries, Leo Tolstoy for one discarded it as almost ridiculous, and many found it highly objectionable in many ways. There are undeniably some inconsistencies and details that must receive question marks, for example the fool's disappearance with no explanation, and there are some weaknesses even in the text. But the drama as such in its entirety remains on the top of sovereignty among world dramas and is perhaps the greatest of all, even transcending Hamlet and Oidipus. And here we have with Laurence Olivier the closest we have reached so far to the ultimate, perfect version.
What was especially gratifying in this production was the effort to stick to absolute realism in especially costumes and scenery. The drama commences among the monumental impressiveness of Stonehenge and also finishes there. Everything in this production breathes ancient Celticism - except the music, which I agree with another reviewer about being rather a nuisance, more industrial effects and noise than any real music, except for the flute chamber performance when the king returns to Cordelia. But how should music be made to old Celticism and primitive moors, wars and cruelties? Silence would hardly have been better, and true music could have wrecked it all towards sentimentality. So I guess even the music is best as it is.
Among the actors I must admit that I never saw a better Edgar (David Threlfall, already making an immortal impression in "Nicholas Nickleby" the year before), John Hurt is priceless as the fool, and Leo McKern makes an unforgettable Gloucester, like also Colin Blakeley as Kent. The three sisters are all more than perfect and excellent, and couldn't have impersonated their special roles better. The prize goes of course to the 75 year old Laurence Olivier, who by this performance completed and crowned his long outstanding career as one of the best actors ever, especially on film. Michael Elliott's direction is also perfect, no objection could be raised anywhere, although it was made for TV, which Elliott used to advantage by special expressive close-ups. This is for me one of the best films ever made and possibly the best Shakespeare ever filmed.
