Results for: richard iii 1995
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2009-12-15 - extension: rar - parts: 8 - size: 78 MB
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RichardIII.part11.rar 2008-09-02 - extension: rar - parts: 12 - size: 97 MB
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Richard III: Act 4, iv - Richard looks to woo Elizabeth Richard III: Act 4 Scene 4 (lines 199-342) Richard looks to woo Elizabeth of York.
This (More) Richard III: Act 4 Scene 4 (lines 199-342) Richard looks to woo Elizabeth of York.
This modernist version by Ian Mckellen (1995) and is fine, but there are numerous cuts to the text.
go here to a single playlist of all the Shakespeare for SATS 2008:
http://www.youtube.com/view_play_list?p=CD0A18B0C22EF0A4
Maggie Smith ... Duchess of York
Kate Steavenson-Payne ... Princess Elizabeth
Annette Bening ... Queen Elizabeth
Ian McKellen ... Richard III
Director: Richard Loncraine
Three commentaries on this scene from "A New Variorum Edition of Shakespeare" By William Shakespeare, Horace Howard Furness, editor:
Dr Johnson:
On this dialogue 'tis not necessary to bestow much criticism, part of it is ridiculous, and the whole improbable.
M. Mason:
I cannot agree with Johnson's opinion. I see nothing ridiculous in any part of this dialogue; and with respect to probability it was not unnatural that Richard, who by his art and wheedling tongue, had prevailed on Lady Anne to marry him in her heart's extremest grief, should hope to persuade an ambitious and, as he thought her, a wicked woman, to consent to his marriage with her daughter, which would make her a queen, and aggrandise her family.
Stopford Brooke ("On Ten Plays of Shakespeare", New York, 1905, p. 118):
This scene ... is of that cunning which overreaches its aim. Richard thinks he has persuaded Elizabeth to give him her daughter; but it is he who has been deceived, he whom the woman has played with. She pretends to consent, but is already in communication with Richmond, to whom she does give her daughter. From this point of view, which I think Shakespeare meant, the unnaturalness of the scene (the far too great length of which is only excused by the impossible effort Richard makes) is modified; and the weakness which has come on Richard's intellect is more than suggested.
All is breaking down in him: his self-control, his temper, intelligence, his clear sight of things, his foresight, his power to keep men and subdue them to his will. The art is excellent with which this is shown in Richard's talk with Catesby, Ratcliffe, Stanley, and the messengers.
Act 4 Scene 4 (lines 199-342) Richard looks to woo Elizabeth of York.
'Stay, madam. I must talk a word with you'
to
'Can make seem pleasing to her tender years?' (Less)
Ian Mckellen In 'Richard III'--"Now Is The Winter Of Our.." Shakespeare's 'Now is the winter of our discontent' soliloquy performed by Ian (More) Shakespeare's 'Now is the winter of our discontent' soliloquy performed by Ian McKellen in his film version of 'Richard III' from 1995.
---tho with the long introduction in this modernized version, the soliloquy actually starts about 5 and a half minutes into this clip.
I really like the re-created 30s style jazz tune here, but for those who want just THE SPEECH, go here:
http://www.youtube.com/watch?v=ke5-SUDrHMU
Stacey Kent (born 1968 in New Jersey) is the fine jazz singer in this clip (and in real life!). Excellent music by Trevor Jones for this film.
Christopher Marlowe. 1564--93
The Passionate Shepherd to His Love
COME live with me and be my Love,
And we will all the pleasures prove
That hills and valleys, dales and fields,
Or woods or steepy mountain yields.
And we will sit upon the rocks,
And see the shepherds feed their flocks
By shallow rivers, to whose falls
Melodious birds sing madrigals.
And I will make thee beds of roses
And a thousand fragrant posies;
A cap of flowers, and a kirtle
Embroider'd all with leaves of myrtle.
A gown made of the finest wool
Which from our pretty lambs we pull;
Fair-linèd slippers for the cold,
With buckles of the purest gold.
A belt of straw and ivy-buds
With coral clasps and amber studs:
And if these pleasures may thee move,
Come live with me and be my Love.
The shepherd swains shall dance and sing
For thy delight each May morning:
If these delights thy mind may move,
Then live with me and be my Love.
Arthur Quiller-Couch, ed. 1919. The Oxford Book of English Verse: 1250--1900.
from an interview with Sir Ian McKellen:
Now, why the Thirties?
If Shakespeare was offering a commentary on comparatively recent events for his audience, shouldn't we look for what to us is a modern period? The Thirties are close enough for us to relate to them in the Nineties. Characters dressed in Thirties fashions are easier to distinguish from each other than if they are all done up in floppy hats, feathers and wrinkled tights. In such medieval costume, of the period when the original Richard III was alive, everyone looks the same. For instance, you cannot tell in the Olivier movie what people do for a living, how much money they've got, what their social standing in relation to each other is, simply by looking at them. You can by listening to them; but in a drama about the way individuals interrelate (and their professions), what they wear and own, the sort of buildings they use are as important as their manners.
The Thirties was perhaps the most recent time when the English royal family might have played a major part in politics. Richard III centres on power and the structure of politics. It was a period when a tyrant reminiscent of Richard III might just have arisen in the United Kingdom. On his abdication, Edward VIII visited Hitler with approval and Oswald Mosley aped Germanic fascism in the streets where I live in the East End of London. These reverberations were helpful for the play's credibility, presenting not real history but events that might have happened -- an aid to the audience's suspension of disbelief. (Less)
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