By Russell Jackson
Shakespeare movies within the Making examines the construction and reception of 5 feature-length Shakespeare motion pictures from the 20th 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 approach and replicate the studios' wish to improve their prestige with 'prestige pictures'. Olivier's 1944 Henry V was once a part of Britain's cultural battle attempt and embodies visions of the medieval earlier and perfect management. The Romeo and Juliet motion pictures of Renato Castellani (1954) and Franco Zeffirelli (1968) embodied visions of Renaissance Italy that distinction - in differing methods - with MGM's movie. This publication bargains readings of those major and influential motion pictures, supported by means of huge archival examine, together with studio records, script revisions, exposure fabrics and experiences.
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Additional resources for Shakespeare Films in the Making: Vision, Production and Reception
In Reinhardt’s synopsis of the sequence, they are described as ‘file[s] of dark elves and night spirits, with white ecstatic dream-faces’. The synopsis makes it clear that Oberon’s dark cloak offers protection to ‘tardy creatures light and dark’, as well as to ‘birds . . and other feathered folk’, though it is not clear why birds should hide when day approaches. Oberon’s agency may be for the good, but the fact that the ‘sports’ of the creatures ‘break up’ suggests an end to pleasure and lightheartedness.
TRADEMARK which increases in size as it comes forward to CAMERA. ’64 The shooting script lists elements of the montage, which it promises can be ‘worked out in such a manner that it will be effective, but inexpensive, without a great number of soldiers, Amazons, or sets’. The list has nineteen items. Theseus’s ship arrives in a storm at the ‘Amazon Castle’ and we see Hippolyta ‘with a large wild dog at her side, sternly watching the approaching ship’. The alarm is given and preparations are made for battle.
The players’ parts are already being distributed by Quince; he ‘is about to hand the scroll to Bottom, [when] Bottom’s wife appears and drags him away from the craftsmen’ (p. 15A, sc. 68A). After a sequence of scenes dealing with the lovers’ plight and the plan to escape from Athens, Bottom would have been seen sneaking out of his house to join his friends at their rehearsal, using the window rather than the door, which his wife would have locked (p. 19, scs. 75–7). The situation would be repeated when Bottom found himself locked in (and the window barred) and had to escape through the cellar to go to the forest (p.
Shakespeare Films in the Making: Vision, Production and Reception by Russell Jackson