HENRY IV, Part 1

Here are the presentations for this week on 1 Henry IV:

1 Henry IV

by Jess Wyer

The Hollow Crown – 2012 tv series, New adaptations of Shakespeare's tetralogy of history plays comprising the 'Henriad' for the BBC's 2012 Cultural Olympiad: King Richard II; King Henry IV, Part 1; King Henry IV, Part 2; King Henry V. Different directors for different episodes but Henry 1v part one adapted and directed by Richard Eyre.

Starts with act one scene 2 where we get a sense of Falstaff’s character as we see Prince Henry find him in bed with a woman which is a literal interpretation of Prince Henry’s line ‘the blessed sun himself a fair hot wench in flame-coloured taffeta’

Putting this scene before the war council scene presents the adaptation more as a comedy than a history play. Focus on the comic can be seen in the exaggerated presentation of Falstaff for example we see him urinating, slipping on leaves and falling over in the wood when sprung on by Poins and the Prince and his hearty performance in the tavern when he pretends that he was set upon by 100, then 16 and then 50 men in the woods.

The comic scenes are given more weighting in the play than the historical scenes because they are lengthier but in the tv show the comic scenes are given more weighting in the casting, for example Julie Walters is cast in the role of the Hostess, an insignificant role in the play made significant by Julie Walters, adding another comic layer to the tavern scenes through her performance. In choosing to expand the comic characters, the producers have recognised the value inherent in the comedy for without it the show would be quite drab.

Falstaff wears a saucepan for a crown when taking on the role of the king in performance which is a clever way of using props for the saucepan evokes the hollowness of the crown, echoing that the crown when stripped of its symbolism is just a piece of metal like the saucepan.

Interesting that Peto one of the Prince’s followers is cast as a man but some of his lines in act 2 scene 4 are given to a woman prostitute, for it is she and henry that distract the sheriff by pretending that the sheriff has interrupted there sexual involvement that sends him on his way when he comes looking for Falstaff. I think this combined with the bigger role created for the hostess shows the directors attempt to create more roles/space for women into the play. I think this creates an emphasis on the contrast between the warm, domestic slightly matriarchal space of the tavern with the cold patriarchal space of the court.

The contrast between the private domestic space and the public space of the court can also be seen in act 3 scene 1, when the scene starts with the rebels planning their attack by looking at maps and ends with them sat by the fire whilst Lady Mortimer enchants by singing in welsh. The two contrasted ends of the scene show the intermingling of public and private affairs.

These private scenes disappear as the time for battle approaches, and the ensuing battle is very underplayed in the tv performance. The battle is scaled to one field and a bit of woodland and the fighting is exaggeratingly play acted, perhaps because it was shown before the 9pm watershed or perhaps because the director felt that the focus shouldn’t be on the violence but on character. As we have close up of prince henry and Falstaff when they give their soliloquies on the battlefield.

 

1 HENRY IV

by Nick Ismail

After watching the BBC’s adaptation of Henry IV Part 1, in the programmes Hollow Crown series, it was clear that unlike various adaptations of Titus and Hamlet this screenplay followed the text very closely regarding context and setting. Indeed, it is a traditional close representation of the text.

            This performance was directed by Richard Eyre with a big budget, which is demonstrated by the climactic battle, where Prince Henry/Harry (referred to as both) kills Sir Henry Percy. The cast includes Jeremy Irons as Henry IV, Tom Hiddleston as Prince Henry/Harry and Simon Russell Beale as Sir John Falstaff. These actors’ prowess is demonstrated by their on-screen chemistry, which is excellent, portraying strong, tense and very real relationships.

            The adaptation does cut and switch around a variety of scenes. But in no way does this detract the audience from the goings on and themes within the play. It simply allows for the film to flow in a more believable and sequential way, i.e. Act III Scene 1 and 2 are swapped.

            Typical of a History play, there is no one central figure within the film. Although one could argue that Prince Henry and Sir John’s Falstaff’s relationship is integrally necessary to play and film’s success and popularity. This relationship is often comical with both individuals attempting to joke and make fun at the other, usually with Falstaff bearing the brunt. This good humoured relationship, however, mirrors the civil unrest that is ever-present in England at the time within the play. These comical scenes are mirrored by scenes of rebel activity concerning the Earl of Northumberland and the Earl of Worcester and their respective families. Equally, Falstaff and Prince Henry’s relationship may parallel the seriousness of Prince Henry and King Henry IV’s strained relationship, presented in the film (Act III Scene 2) in dark room with a scornful look on the King’s face regarding his discussions with his son. Prince Henry recognises the severity of the situation after his father slaps him hard across the face. It is this point of violence that brings Hal to a realisation of the severity of his father's disappointment, causing him to ascent to the dais in protestation of his own worth. The King responds to this speech: ‘Thou shalt have charge and sovereign trust herein.’ Here we see the theme of lineage and the notion of the King’s Divine Right. These themes are key to this play and film, and other History plays.

            The music within the film acts as too much as an indicator too the mood and tone of the scenes. Indeed, it is overly used and detracts the audience from the words being said. This is most true in Falstaff’s ‘honour’ soliloquy, which is presented as a melancholy voice-over. It is evocative, although the music manipulates the very words, presenting the speech as wholly downhearted, missing the elements of humour within it, in that honour, he concludes, is just a word (Act V Scene 1).

            This film (being true of the play) contrasts between the serious and the comical, the act of rebellion and the follies of certain characters (namely Prince Henry and John Falstaff). The scenes where this opposition takes place contrast completely, with the courtly scenes being deeply formal and played as a high drama. While the tavern scene containing carnivalesque and bawdy humour is made exceptional by the fact that a Prince is engaging in such activity.

Finally, there is great evidence of character progression, acted well by Tom Hiddleston. Especially in Prince Henry, who begins to realise the weight of his authority in state affairs, which is best reflected by his slaying of Sir Percy and the victory over the rebels. Ultimately, however, the play and film end where they began, in civil unrest, which makes for a more poignant ending; particularly in the eyes of the audience and Prince Henry.