By Russell Jackson
Shakespeare motion pictures within the Making examines the construction and reception of 5 feature-length Shakespeare movies from the 20 th century, targeting the ways that they articulate visions in their Shakespearean originals, of the fictitious worlds during which the flicks are set, and of the movie-makers' personal society. Warner Brothers' 1935 A Midsummer Night's Dream and MGM's 1936 Romeo and Juliet have been items of the Hollywood procedure and mirror the studios' wish to improve their prestige with 'prestige pictures'. Olivier's 1944 Henry V was once a part of Britain's cultural conflict attempt and embodies visions of the medieval previous and perfect management. The Romeo and Juliet movies of Renato Castellani (1954) and Franco Zeffirelli (1968) embodied visions of Renaissance Italy that distinction - in differing methods - with MGM's movie. This e-book deals readings of those major and influential movies, supported by way of broad archival examine, together with studio records, script revisions, exposure fabrics and stories.
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Additional resources for Shakespeare Films in the Making: Vision, Production and Reception
Example text
The costumes were designed by Max Re´e, a Danish-born artist who had worked on Reinhardt’s productions in Europe and at the Hollywood Bowl and was already established in films. The studio’s scenic department, headed by Grot, took its usual responsibility for sets (see Figure 1). 51 Cagney described how ‘Reinhardt, so used to broad gestures, made some of the actors do things that were, I thought, ridiculous for the screen. 52 The elements of Reinhardt’s vision of the play, which was what Warner Bros.
35 As for the lovers, by the later stage productions Reinhardt had begun to treat their awakening as a more or less mimed performance of uncontrollable laughter, the ‘Lachquartett’, with a few explanatory exclamations, a course eventually followed in the film. 36 Since the Vienna version, Reinhardt’s Max Reinhardt’s recurring Dream: Hollywood, 1935 21 A Midsummer Night’s Dreams had included this baroque or rococo element. It was consistent with Reinhardt’s delight in fanciful, dreamlike combinations of periods, and his readiness to ‘quote’ one period’s interpretation of another.
It was given again at the Deutsches Theater in the 1913–14 season with new designs, and also at the Volksbu¨hne and (in 1922–3 and 1923–4) in the 18 Shakespeare Films in the Making vast arena of the Grosses Schauspielhaus – where it was described as ‘after the production by Max Reinhardt’. The play had also been restaged in more stylised versions in 1913 for the Ku¨nstlertheater in Munich and at the Theater in der Josefstadt in Vienna in 1924–5. The production seen in New York in 1927 as part of a Max Reinhardt season had a new set along similar lines.