Henry V (1944) 720p YIFY Movie

Henry V (1944)

The Chronicle History of King Henry the Fifth with His Battell Fought at Agincourt in France is a movie starring Laurence Olivier, Robert Newton, and Leslie Banks. In the midst of the Hundred Years' War, the young King Henry V of...

IMDB: 7.32 Likes

  • Genre: Biography | Drama
  • Quality: 720p
  • Size: 1.65G
  • Resolution: / fps
  • Language: English
  • Run Time: 137
  • IMDB Rating: 7.3/10 
  • MPR: Normal
  • Peers/Seeds: 11 / 17

The Synopsis for Henry V (1944) 720p

In the inspired Olivier concept, Shakespeare's play begins as a performance in the Globe Theatre, shifting in broad cinematic terms to an epic narrative of Henry V, who had developed from a dissolute youth to a purposeful monarch. Proving his ability as a soldier and skillful leader, he unites the dissident factions in the English army and goes on to crush the French, against enormous odds, at Agincourt. Arranging a treaty with the French court, he woos Princess Katharine to whom he is formally betrothed as part of the peace agreement.

The Director and Players for Henry V (1944) 720p

[Role:]Felix Aylmer
[Role:]Leslie Banks
[Role:]Robert Newton
[Role:Director]Laurence Olivier
[Role:]Laurence Olivier

The Reviews for Henry V (1944) 720p

"Still be kind, and eke out our performance with your mind"Reviewed bySteffi_PVote: 9/10

It's perhaps surprising that when people from a theatrical background turn to film directing, they tend to produce pictures that are purely cinematic and freed from staginess. This is the case with Laurence Olivier, as it was with Rouben Mamoulian and Orson Welles. Here, with his debut feature as director, Olivier not only created a landmark propaganda film, but also redefined the screen Shakespeare adaptation and established a new precedent of renowned actor turning competent director.

Shakespeare's play of Henry V was of course ideal for a wartime morale booster, featuring as it does heroic action, rousing speeches, historical parallels with the landings at France, a protagonist who is valiant yet warm and humane, as well as plenty of little extra touches such as exploring the psychology of the troops on the eve of battle and stressing the need for unity between English, Irish, Scotch and Welsh. It was also the perfect play for Olivier to test his ideas on how a Shakespeare play should be turned into a film. The chorus of Shakespeare's original text tells the audience that the great battles and courts can scarcely be contained on a stage and that you must "on your imaginative forces work". Using this idea as his starting point, Olivier begins the film with a recreation of a contemporary production of the original play at the Globe theatre, complete with backstage glimpses, bumbling actors and a rowdy Elizabethan audience. Then, as Leslie Banks' chorus commands the audience to "work your thoughts", the theatre disappears, and the action subtly opens out into larger sets. Eventually, we are transported to location with thousands of extras for the climactic battle scene.

This was not only a complete reworking of screen Shakespeare, it was part of a whole approach to cinema. Olivier's Henry V, although totally different in content, is stylistically in the same tradition as Michael Powell's The Red Shoes or the elaborate ballet sequences of MGM musicals, which also expand would-be stage performances into pure cinematic fantasy. The originator of this approach was probably Busby Berkeley, who also made the switch from stage to screen, albeit from the music hall to the role of choreographer for screen musicals. The musical sequences that Berkeley constructed for Warner Brothers musicals in the mid-1930s always begin with a stage production, but then turn into tour-de-forces of choreography, camera positioning and massive sets, all of which could never be contained or properly appreciated on a stage. Olivier is effectively doing the same thing with a Shakespeare play as Berkeley did with a dancing chorus line.

Of course, all this alone isn't what makes Henry V a great work. For a first-time director Olivier's eye is remarkably sharp. He keeps the action smooth in dialogue scenes by making use of long takes, and preferring to move the camera to change the framing rather than breaking the shot with a cut, often dollying in on a single actor to achieve a close-up. He's not quite experienced enough yet though to give these shots a really natural flow, and he doesn't really get the chance to show off his talents as a dramatic director as he would later in Hamlet and Richard III. Having said that, he does manage to give remarkable tenderness to Henry's soliloquy on the eve of battle and his courtship of Kate towards the end of the film.

The highpoint however is the impressive Agincourt battle sequence, which was influenced by the battle in Eisenstein's Alexander Nevsky, but is actually an improvement on the Russian master's equivalent work. He similarly builds up tension as the opposing army begins its charge, using a rhythmic editing pattern and dynamic close-ups. However, whereas Alexander Nevsky's battle occasionally looked obviously staged and unrealistic, in Henry V you could as well be witnessing a genuine medieval battle.

Olivier selected a top notch cast composed of actors with theatre experience like himself, with exuberant performances from Robert Newton as the cowardly Pistol and Esmond Knight as Welsh captain Fluellen, and too many other great names to mention. Olivier himself, after a decade of learning how to act for screen, perhaps relished the chance to give huge, concert-hall-filling Shakespearean delivery again, although he does manage to rein his performance in again for the quieter scenes.

Henry V is remarkable for a director's debut feature. Olivier would direct two more prestigious Shakespeare adaptations, as well as a few dramas, but Henry V is his freshest and most engaging work as a director, and still remains the best.

Olivier's is THE ONLY VERSIONReviewed bychadportVote: 10/10

I watched both of Olivier's and Branagh's versions of Henry V and can't believe there would be any debate that Olivier's is the BEST!!! To newer generations, Branagh might be more alluring in more sophisticated technical cinematic special-effects but Olivier's version is much more in line with what "The Bard" had in mind. I have read reviews by peers of my own generation (I am in my early 30's) and constantly hear a critique of Olivier as appearing too "stagey". COME ON PEOPLE, Shakespeare IS ALLLLLLL ABOUT "THE STAGE"--and the interaction of that Stage with a theatrical audience--after-all, Shakespeare was not meant to be viewed in MEGA-CINEPLEX 10-- I think that Branagh's version falls short exactly because it takes it off the stage and tries to make it into a movie..it truly loses something in the process. Olivier's brilliance is that no one/BAR NONE had a more comprehensive command over Shakespeare's language, intonation, and intention in acting, which is perhaps exactly why-to this day-his vision was so "right-on" as a director. With Branagh, I was always aware I was watching a film whereas with Olivier, I became so absorbed in the play that I forgot what medium I was watching it through. This is extraordinarily helped by the fact that Olivier really puts this in historical context for us-i.e, opens his film up ON THE STAGE OF THE 16th century GLOBE THEATRE...he takes us down from an aerial view (with the surrounding architecture of a 16th century English hamlet) into the intimacies of the stage, behind the stage, and ultimately the "players" interaction with the almost bawdy 16th century audience -whose permission to imagine/visualize the story they were about to weave before our eyes was humbly asked of its participants common audience.) Olivier also reminds us (through this) that though today we tend to relegate Shakespeare to "high-fallutin' types, thus preempting the fact that the audience of the day and age was anything but-which really humanizes the experience for us-makes it more tangible-Shakespeare was (at the time) truly written FOR and given permission to exist BY "the more common masses". Even Branagh's revisionist version of Henry V had to acknowledge Olivier's brilliance in this transition between theatrical illusion and audience acknowledgment except Branagh uses the much darker interior of a Hollywood-like studio, which though it might make it more accessible for a younger audience more accustomed to movies than theater (in my opinion) falls short of giving us the true ambiance of how Shakespeare was intended to be seen. BUT THE TRUE SUCCESS OF OLIVIER'S SUBSEQUENT EXECUTION of the play is that he VERY SEAMLESSLY transitions off the stage and into the countryside of England, crossing the English Channel to France, and finally the culminating battle of Agincourt without the viewer even being aware this has happened. But every brilliant writer knows that he must bring his subject back full circle to where it opened-and subsequently Olivier brings us back onto the stage of our 16th century Globe theater before humbly addressing the audience upon whose success or failure of the plays ability to have conjured their imaginations solely relies. Of course Olivier's "prop-technicolor- 1940's and 50's backdrops might seem too unsophisticated for a younger audience but how he executes the play (and most important) where he takes our own imaginations in the process is why this version will always provide the penultimate experience.

Valuable cinematic ShakespeareReviewed byjhboswellVote: 10/10

Now that we have a fairly long history of quality Shakespeare in the movies, I believe it's fair to compare this film to others, as many have already done. But I'll skip comparisons to the young Kenneth Branagh. What I would like to emphasize is the social importance here, both originally and with this 1944 production.

This play was written to celebrate a great English hero, and to stir up patriotism for a profit. (Shakespeare was a successful businessman.) The movie was made for the same reasons, and its value is in how well it accomplishes them.

It's very valuable.

The film was conceived and made in some dark times for England, and the production occasionally had to stop because of enemy bombers overhead. It could have been thrown off a lot more cheaply and had the same commercial return, but instead Lord Olivier presented a stylish, inspiring, entertaining epic of heroism. I really, really enjoyed the play-within-a-play motif: it was wonderfully fun to see the Globe and the playgoers of the day. I found the acting to be fully satisfying, all the way from a hilarious Robert Newton (he was never this funny anywhere else) as Pistol to Leslie Banks nearly stealing the show as (only) the Chorus. Bravura performances all around--at least from the males, since I have to fast-forward the love scene with Kate.

I also appreciated the action scenes, the color and spectacle--and let's face it, the way Lord Olivier could rip off the St Crispian's speech! So, what we have is a wonderful slice of history, expertly presented. Really good Shakespeare.

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