Chimes At Midnight (1966)

Considered Orson Welles' final masterpiece, this powerful and poignant epic was inspired by Shakespeare's plays "Henry IV," "Henry V," "The Merry Wives of Windsor" and "Richard II." Welles stars as Falstaff, the surrogate father of Prince Hal, who shuns Falstaff's friendship when he ascends to the throne of his real father, Henry IV. With Jeanne Moreau, John Gielgud. AKA: "Falstaff." 115 min. Product Description

"thy love is worth a million; thou owest me thy love"

As I recall, this was one of Orson Welles' favorites of his own films (he wrote, directed, and starred in it), and many have commented on the parallels between Welles' career and Falstaff's. At any rate, he had every reason to be proud of "Chimes," because it's a splendid movie. The film's script is a conflation of the two Henry IVs, plus a little of Henry V, one speech from Richard II, and apparently a bit of The Merry Wives of Windsor that I've never been able to spot, cut to focus on the relationship between Falstaff and Hal and its eventual breakdown. This dynamic is realized beautifully, extending sympathy to both protagonists; Welles' Falstaff is both funny and vulnerable, while Keith Baxter as Hal goes from being a young goofball prince who clearly does love his fat old mentor to being a repressed and angsty king - in the rejection scene, Falstaff is both deeply wounded and yet proud of his kingly young protégé, while the newly-crowned Henry V looks the model of composure, but his voice shakes as he pronounces Falstaff's banishment. It's tremendous. I also need to put in a good word for John Gielgud (as always!) who appears as a splendidly chilly Henry IV (equipped with a Look of Withering Disappointment which is capable of peeling lead paint off of walls), and Norman Rodway's very entertaining Hotspur (granted, Hotspur is rarely not entertaining). Also, fans of Branagh's Henry V (of which I am one of the most rabid) will note the influence of this film on his treatment - in particular, his Agincourt owes much to "Chimes'" nightmarish rendering of the battle of Shrewsbury. December 20, 2005

"We have heard the chimes at midnight, Master Shallow"

I first read about CHIMES AT MIDNIGHT in a contemporary review in TIME magazine, which gave it a glowing notice; odd for TIME which had previously massacred each one of Welles' films, picking them apart for their perceived shortcomings and failing to register their beauties. Sometimes you can't see the forest for the trees, but by 1966 the air had cleared a bit and the anonymous reviewer gave it four stars, finally acknowledging Welles' enduring contribution to world cinema. When I went to see the movie the theater was packed, not only with film fans, but with Shakespeare fans as well, all of us wondering how Welles managed to jam in three of Shakespeare's plays into one scenario.

The movie was filmed over time, so there are some gaps in continuity, though the time was not as long as that spent filming the unfinished DON QUIXOTE project. Welles must have had John Gielgud for ninety minutes, you can tell all his scenes were filmed on the same day. Nevertheless Gielgud gives a great performance, the equal to any of his Shakespearean film roles (too bad he never committed his Romeo to celluloid) as Henry the Fourth. Gus Van Sant might have used Gielgud when he made his post-modern version of the same material in MY OWN PRIVATE IDAHO, he could have played Keanu Reeves' disapproving dad just as well as the guy who did so.

Jeanne Moreau is arresting as Doll Tearsheet, the tavern wench who serves as a sort of Miss Kitty romance for the aging Falstaff. She has a luminous beauty, extremely thin, Kate Moss thin, so sometimes it almost seems as though you can see the wallpaper behind her back. It is rumored that Welles considered Eartha Kitt for the part; Welles and Kitt had worked together on stage ten years before, and he remained fond of the demanding, fiery singer and actress. Accompanying Moreau is Margaret Rutherford, Miss Marple in the movies, reminding us once again what an exquisite actress she could be when reined in. Marina Vlady, an icon of the French nouvelle vague due to her leading role in Godard's TWO OR THREE THINGS I KNOW ABOUT HER, is Lady Percy, who deplores Harry's switch from loving her to loving war more. "Tell me sweet lord, what it is that takes from thee thy stomach, pleasure and thy golden sleep? Why dost thou bend thine eyes upon the earth, and sit so often when thou sit'st alone?" Vlady brings a sexy confidence to Kate Percy that makes Keith Baxter's diffidence almost a crime against nature.

Only in his late forties when he filmed CHIMES AT MIDNIGHT, Welles appears much older, and properly subdued when he has to be. Gone are the accidental grotesqueries that make watching him in OTHELLO or MACBETH sort of wince-making. Falstaff is an adult performance in every sense of the word. The big battle scenes are famous indeed, conveying a devastating impression of the horrors of war, and yet some of its humanity as well, all on what appears to be a twenty-five dollar budget, due to clever use of montage and a rousing musical score. The movie has its lapses, but here's hoping that one of these days the Welles estate will get off its ass and release his late films in restored versions, or indeed, any which way it can. Until then you'll have to take my word for it. September 6, 2005

Welles' final masterpiece is worth seeking out

What a shame it is that Orson Welles' "Chimes at Midnight" isn't currently available in any form. I was extremely fortunate to receive a similar VHS version (English language, no subtitles) as a gift before the usual legal wrangling over Welles' later works forced it out of print. If you can get this one used, by all means go for it!

"Chimes at Midnight" is one of the great Shakespearean adaptations and a true 'lost classic'. It's also the last masterpiece that Orson Welles directed in his lifetime, and with 'Citizen Kane,' 'Magnificent Ambersons' and 'Touch of Evil' comprises a quartet of major cinematic works by Welles. Though rarely seen, "Chimes at Midnight" has influenced modern filmmakers. Mel Gibson, for example, admitted the famous "Battle of Shrewesbury" scene influenced his own "Braveheart."

The film is an inventive re-editing and condensation of Shakespeare's plays, spanning from the end of Richard II to the beginning of Henry V. The film shifts the focus from the titular English kings to the character of Jack Falstaff, played by Welles himself in a virtuoso performance. Falstaff's relationship with young Prince Hal (later Henry V) is explored, and uncannily parallels Welles' own experience with the young talents of Hollywood.

There are several great performances, by John Gielgud as Henry IV, Keith Baxter as Hal, Kenneth Branagh look-alike Norman Rodway as Hotspur, Welles regular Jeanne Moreau as Doll Tearsheet, and the great Dame Margaret Rutherford (of "Miss Marple" fame) as Mistress Quickly.

"Chimes at Midnight" can be a jarring experience due to inconsistent film quality, low budget sets and Welles' flair for shock cuts. Once you adapt to the style and limitations, it's a truly rewarding experience. Welles has found a deeply moving story between the lines of Shakespeare's histories.

"Chimes at Midnight" was Welles' final attempt to popularize Shakespeare for the masses. With any luck, this film will eventually reach the wider audiences that Welles failed to achieve in his lifetime. August 2, 2004

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