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Chimes At Midnight (1965) DVDRip (SiRiUs sHaRe)

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Chimes At Midnight (1965) DVDRip (SiRiUs sHaRe)

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Name:Chimes At Midnight (1965) DVDRip (SiRiUs sHaRe)

Total Size: 704.98 MB

Magnet: Magnet Link

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Stream: Watch Online @ Movie4u

Last Updated: 2011-01-15 21:47:42 (Update Now)

Torrent added: 2009-08-31 02:16:05



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Chimes At Midnight (1965) aka Campanadas a medianoche

The aging King Henry IV watches disapprovingly as his son Hal (later Henry V) enjoys a rude and irresponsible life under the bloated and decadent Sir John Falstaff. The young prince dreads the not-too-distant day when he will have to chose between his opposed father figures...

Orson Welles ... Falstaff
Jeanne Moreau ... Doll Tearsheet
Margaret Rutherford ... Mistress Quickly
John Gielgud ... Henry IV
Marina Vlady ... Kate Percy
Walter Chiari ... Mr. Silence
Michael Aldridge ... Pistol
Julio Peña
Tony Beckley ... Ned Poins
Andrés Mejuto
Keith Pyott
Jeremy Rowe ... Prince John
Alan Webb ... Shallow
Fernando Rey ... Worcester
Keith Baxter ... Prince Hal

Director: Orson Welles

Runtime: 115 mins

http://www.imdb.com/title/tt0059012/

Codecs:

Video : 603 MB, 759 Kbps, 25.0 fps, 672*416 (16:9), DX50 = DivXNetworks Divx v5,
Audio : 101 MB, 127 Kbps, 44100 Hz, 2 channels, 0x55 = MPEG Layer-3, VBR,

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IT SHOULD BE RESTORED, preserved and cared for. It is a masterpiece of direction, action, camera work, casting, story. From Orson Welles to Miss Rutherford, it is a delight to be an audience in any theatre that will show this magnificent film.

No one can out do Orson Welles, no one can touch the characterisation of all these magnificent actors. There is not one weak point. It is a huge film. Too bad there are no decent prints of the film available.

Hopefully somewhere, through FIAF and the international film archives and the great work they are doing, a negative of the film will be found, restored and then the film will be available for screenings on television, DVD, movie theatres, cinematheques around the world.

Thank You Orson Welles and everyone involved in this great great film!

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This is all more of a fascinating and compelling film because of its difficult-to-find nature, and the feeling of its being neglected, despite much praise from film and Welles scholars. This forms part of the compelling sequence of Welles films that began with 1958\'s \"Touch of Evil\", and ran through to his final film, 1973\'s \"F For Fake\", a film I really want to see. The version I managed to locate of \"Chimes...\" revealed a film with, yes, some technical problems (the sound is a little poor, but I\'d almost expected worse), and the feeling of being made on-the-hoof. But what a film it is! Certainly hitherto the finest and most moving Shakespeare film adaptation that I have seen; I was happy to be able to write on it for my recent University Tripos exam.

Welles is possibly not a perfect Falstaff - failing to some degree to capture the character\'s jovial humour - but he gives a good performance in a limited, but powerfully melancholy vein. Keith Baxter makes Hal very much his own, providing curious contrasts to both of his father figures. Gielgud is as sublime as ever, and his scenes are beautifully directed - one wouldn\'t know the problems Welles had in terms of actor availability, considering how effective the medium close camera-work is.

The poetry of the \"Sleep\" speech is absolutely overpowering in Gielgud\'s rendition, and his facial expressions, eyes cast in shadow, are perfectly haunting. The strength of his performance is crucial; Henry IV is thus very much a figure with dignity but guilt and a coldness matching the stone of his solitary court - brilliant use of some sort of cathedral. Margaret Rutherford and Tony Beckley certainly add a lot to the mix, as does the bizarrely ill-fitting Jeanne Moreau, that most French of actresses playing an English whore. The tenderness she feels for Falstaff is crucial in softening his character a bit; Moreau\'s bedraggled siren works as a necessary example of the femininity of the Tavern, as compared to the masculine world of battle and court that Falstaff is so lost in. What a striking actress she is here; piercing, soulful eyes, such lips and flowing dark hair. It is a skittish and perfect performance fitting in with Welles\' fantasia of \"Merrie England\". That most of this was filmed in Spain conveys the sense of this as an artificial, beyond-reality dream of the Paradise Lost. The film can effectively be seen as Welles expressing his interest in Western society\'s mourning a lost golden age - in this case, \"Merrie England\", which Falstaff embodies. The rational and dulling technocracy of the future is suggested by the coldness of Gielgud and Baxter towards the end, and the atmosphere of court.

The actor playing Justice Shallow is supremely odd and bewitching in his shrill little voice; his blustering humour and reminiscence taking on much melancholy as the film moves inexorably towards its tragic, deathly close. The scene where Falstaff finds out Hal is now King, is wonderfully shown in long shot by a still camera; a depression and drift towards disillusion shown. When Falstaff finds out, the lift in spirits is conveyed with his movement towards the camera. It\'s a return to the general sense of camera mobility around Falstaff - contrasting with the stillness around Bolingbroke. The final rejection of Falstaff that follows is beautifully filmed by Welles, played ambiguously by Baxter and movingly by Welles.

What must be the most remarkable sequence is the Battle of Shrewsbury; it is this that will haunt the mind long into the ether... Savage, indiscriminate quickness of brutal death emphasised in quick cuts. The fighting is impersonal and grimly realistic; ranks of silhouetted men and horses charging in, arrows - unlike in Olivier\'s \"Henry V\" - being shown cascading into and piercing ranks of horses and soldiers. The dry ground dissolves gradually to mud, and a haunting, holy-sounding piece of choral music strikes a chilling note of ironic contrast. Mankind has been reduced by war back to the very mud from which it originally arose. All sense of \'glory\' is dissipated and cut away, by this frightening, near-ten minute sequence. It is one of the most gripping, utterly transcendent and powerful sequences I have seen in the whole of my film viewing.

\"Chimes at Midnight\" is a marvel of a film; this is a Welles film in its true form and not tampered with - \"The Magnificent Ambersons\" is the most shameful previous example of this. \"Chimes...\" stands as a complex masterpiece; partly an elegy for an innocence than may never have truly existed, but which Welles *feels* deeply. Track this down if you can as it is something special; let\'s hope it is soon restored to the best possible condition. It is wonderfully slanted Shakespeare; history plays fashioned into a tragedy, and painted from the most compelling cinematic palette. And above all, it is wonderful Welles.

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This 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 that he accomplished.

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 focuses on 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.

Chimes at Midnight can be a jarring experience due to inconsistent film quality, low budget sets and Welles\' flair for shock cuts, but it\'s a truly rewarding experience once you adapt to the style and limitations.

There are several great performances, by John Gielgud as Henry IV, Keith Baxter as Hal and Norman Rodway as Hotspur, who seems like a predecessor to Kenneth Branagh.

Chimes at Midnight has a little of everything: low comedy, highly artistic camera angles, exciting battle scenes (the battle of Shrewesbury scene influenced Braveheart) and a deeply moving story that Welles has \'discovered\' between the lines of Shakespeare\'s histories.

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* Orson Welles\'s favorite film of his own.

* In August 2004 restoration work began on the film by the same team that restored Welles\'s The Tragedy of Othello: The Moor of Venice (1952).

* Chimes at Midnight was based on the play Five Kings. It was written by Orson Welles and condensed Shakespeare\'s Henry IV, V, VI, and Richard III into one show. He produced the show in New York in 1939 but the opening night, where part 1 was acted, was a disaster and part 2 was never put on. He revamped the show and revisited it in 1960. But again, it was not successful. However, this later production was used as the base for the movie.

* According to Jeanne Moreau, Orson Welles delayed filming for two weeks due to stage fright.

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