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Chimes at Midnight
- 168 statements
- 32 feature instances
- 7 referencing feature instances
| Chimes at Midnight | type |
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Chimes at Midnight | |
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Advertisement:propertag.cmd.push(function() { proper_display('tvtropes_content_3'); })Chimes at Midnight is a 1966 international co-production by Orson Welles.It is an adaptation of William Shakespeare's Henriad - Richard II, Henry IV (Parts I and II) and Henry V with some scenes borrowed from The Merry Wives of Windsor and an opening narration (by Ralph Richardson) that features excerpts from Raphael Holinshed's chronicles. The film manages to blend this stew by centering the action not on the Kings and their Enemies but instead, around Sir John Falstaff who as Orson Welles noted had more lines of dialogue than any Shakespeare character apart from Hamlet.The film was made on a piecemeal budget, shot on location in Spain using left-over sets from earlier productions (mainly El Cidnote Spain at that time became a favorite location for producer Samuel Bronston who made a number of films there, including King of Kings for which Welles contributed a narration) and was made as and when money came. Despite these conditions, however the film became celebrated in its day and afterwards for being the most cinematic Shakespeare attempted at the time, with its broad compositions, use of natural surroundings and most famously for its enactment of the Battle of Shrewsbury, which went on to inspire Kenneth Branagh's similarly revisionist Henry V adaptation, as well as Braveheart and Saving Private Ryan.Advertisement:propertag.cmd.push(function() { proper_display('tvtropes_content_2'); })In addition to this the film had an All-Star cast with John Gielgud as King Henry IV, Keith Baxter as Prince Hal, Welles as Falstaff, Margaret Rutherford as Mistress Quickly, Jeanne Moreau as Doll Tearsheet, Fernando Rey as Earl of Worcester and Norman Rodway as Henry Hotspur.Orson Welles described Falstaff as "the only good man in all of Shakespeare" and regarded the film along with The Trial as personal favorites. | |
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2018-10-19T07:47:43Z | |
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2020-06-25T17:20:09Z | |
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| Chimes at Midnight / int_18d15922 | type |
Title Drop | |
| Chimes at Midnight / int_18d15922 | comment |
Title Drop: See the page quote. The dialogue is from Henry IV Part 2. | |
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| Chimes at Midnight / int_18d420b0 | type |
Lovable Coward | |
| Chimes at Midnight / int_18d420b0 | comment |
Lovable Coward: Jack Falstaff, who famously argues that the "better part of valour is in discretion". | |
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| Chimes at Midnight / int_1bc2e445 | type |
End of an Age | |
| Chimes at Midnight / int_1bc2e445 | comment |
End of an Age: In Welles view, the conflict is between "Merrie England" represented by Falstaff and his rogues and the Renaissance Machiavellianism embodied by the likes of Prince Hal who will civilize and nationalize England. Mistress Quickly notes that Falstaff is in "Arthur's bosom". | |
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| Chimes at Midnight / int_1e7c47ab | type |
Stealth Pun | |
| Chimes at Midnight / int_1e7c47ab | comment |
Stealth Pun: When Jeanne Moreau's Doll Tearsheet first meets Falstaff in private she calls out "Thou whoreson" but Moreau's prounciation of whoreson makes it sound like "Orson" | |
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Chimes at Midnight / int_1e7c47ab | |
| Chimes at Midnight / int_20f689e9 | type |
Adaptational Villainy | |
| Chimes at Midnight / int_20f689e9 | comment |
Adaptational Villainy: Prince Hal/Henry V is regarded this way in this film, rather than a Coming of Age story of a wayward Young Prince who finally sees the wisdom in his father's words, Prince Hal is shown as a two-faced cold-hearted Machiavellian schemer who is using Falstaff rather than the other way around. | |
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| Chimes at Midnight / int_25b05c04 | type |
Hitler Cam | |
| Chimes at Midnight / int_25b05c04 | comment |
Hitler Cam: One of Orson Welles' favorite tropes, used many times in this film, like when Percy comes back to the camp to tell Hotspur that Henry IV has denied them parley, or when Falstaff gets excited upon hearing that Hal has succeeded to the throne. | |
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Chimes at Midnight / int_25b05c04 | |
| Chimes at Midnight / int_31c4280 | type |
Conscription | |
| Chimes at Midnight / int_31c4280 | comment |
Conscription: Jack Falstaff oversees the recruitment of several peasants into Prince Hal's army on the eve of the Battle of Shrewsbury. He is rather cynical and regretful about the process, noting that it amounts to tricking people into dying for a cause. | |
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| Chimes at Midnight / int_34dcfc96 | type |
KickTheDog | |
| Chimes at Midnight / int_34dcfc96 | comment |
Kick the Dog: Upon becoming King, Prince Hal demonstrates his newfound maturity by ordering the arrest without trial of all his former friends and associates including Falstaff. | |
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| Chimes at Midnight / int_37b5c1b0 | type |
Big Badass Battle Sequence | |
| Chimes at Midnight / int_37b5c1b0 | comment |
Big Badass Battle Sequence: The Battle of Shrewsbury sequence is still one of the greatest ever seen in film history, with its ragged editing and gritty fighting showing how medieval combat actually looked and felt like in a way nobody had seen at the time. | |
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Adaptational Heroism | |
| Chimes at Midnight / int_3f45f1e6 | comment |
Adaptational Heroism: Sir John Falstaff is given this. Welles makes his feelings towards Prince Hal purely fatherly and undersells some of his most ruthless and cold actions, such as dishonorably cutting the corpse of Hotspur. | |
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| Chimes at Midnight / int_43e36f2f | type |
Acrofatic | |
| Chimes at Midnight / int_43e36f2f | comment |
Acrofatic: Jack Falstaff moves faster than you would expect for a man of his size. Welles of course had the benefit of not actually being that fat, but merely wearing layers of clothes, so he cheats to convey this. | |
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| Chimes at Midnight / int_4e3d253b | type |
Downer Ending | |
| Chimes at Midnight / int_4e3d253b | comment |
Downer Ending: The shift of perspective to Falstaff turns Shakespeare's story into this, as poor Jack is rejected by the man that he loved like a son, and dies shortly thereafter. | |
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| Chimes at Midnight / int_5037b961 | type |
Et Tu, Brute? | |
| Chimes at Midnight / int_5037b961 | comment |
Et Tu, Brute?: Another example from an adaptation of the Trope Namer, but six words destroys everything: | |
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| Chimes at Midnight / int_56515a39 | type |
Artistic License – History | |
| Chimes at Midnight / int_56515a39 | comment |
Artistic License – History: Much like in Laurence Olivier's Henry V, the Battle of Shrewsbury sequence shows armoured knights being hoisted into the saddle with rope pulleys. This has no basis in history - real plate armour does not significantly impede movement; knights would have mounted their horses the normal way - but works well as a cinematic effect. Of course this anachronism is there in the plays itself. | |
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| Chimes at Midnight / int_66755d29 | type |
Author Avatar | |
| Chimes at Midnight / int_66755d29 | comment |
Author Avatar: Film historians and scholars generally see Falstaff and Prince Hal as both being stand-ins for Welles. Prince Hal is Young Orson who as a kid traveled with his itinerant father after his parents' divorce and the death of his beloved mother, and whose breaking with Falstaff is a reflection of how Welles felt guilty about not being there for his father at the time of his death, while old Falstaff is the older Orson Welles, the High School Hustler who never grew up, who lives a nomadic bohemian existence scheming and schmoozing for his next adventure similar to Welles' own itinerant film productions. | |
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| Chimes at Midnight / int_6de71c57 | type |
Disc-One Final Boss | |
| Chimes at Midnight / int_6de71c57 | comment |
Disc-One Final Boss: Given how it combines both Henry IV Part 1 and 2, the rebellion led by Hotspur takes up the first half of the film. The true emotional center of the film is the relationship between Falstaff and Prince Hal. | |
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| Chimes at Midnight / int_730d3664 | type |
Adaptational Angst Upgrade | |
| Chimes at Midnight / int_730d3664 | comment |
Adaptational Angst Upgrade: Orson Welles made Falstaff less comical and jovial and more serious in the film, making Falstaff a quieter, more tragic man emphasizing his old age with the make-up and performance. | |
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Armor-Piercing Question | |
| Chimes at Midnight / int_7b6e47a5 | comment |
Armor-Piercing Question: In one of their conversations, Falstaff asks Prince Hal the truth about their friendship, which Welles makes into one of these: | |
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| Chimes at Midnight / int_8ae880f7 | type |
Deconstruction | |
| Chimes at Midnight / int_8ae880f7 | comment |
Deconstruction: Of Shakespeare's History plays which were intended as propaganda for the Tudor rulers. By making Falstaff the center of gravity, Welles brings the subtext of those plays into greater relief mocking the foundations and assumptions of royalty and kingship. Far from a Coming-of-Age story about how a Prince devotes his duty to his crown, the play highlights fundamentally how exploitative and unequal Hal's friendship with Falstaff really is, with the former treating his adventures with the Fat Knight as Slumming It, and learning how to manipulate, lie and schmooze from the poor knight so that as King he can better project majesty to his subjects. | |
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| Chimes at Midnight / int_a42f56b0 | type |
Royal "We" | |
| Chimes at Midnight / int_a42f56b0 | comment |
Royal "We": Here significant as it helps underline cheerful Hal's transformation into the cold, distant Henry V. | |
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| Chimes at Midnight / int_b4dcdf5b | type |
Antagonist in Mourning | |
| Chimes at Midnight / int_b4dcdf5b | comment |
Antagonist in Mourning: "Fare thee well, brave heart," says Hal after killing Henry Percy in combat. | |
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| Chimes at Midnight / int_b545453b | type |
Internal Homage | |
| Chimes at Midnight / int_b545453b | comment |
Internal Homage: Mistress Quickly's funeral elegy of Falstaff is shot quite similar to Agnes Moorehead's monologue near the stove in The Magnificent Ambersons, complete with her sitting on the floor, back against the wall, and a close-up with her staring far away. | |
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| Chimes at Midnight / int_b5e63cc4 | type |
Shadow Archetype | |
| Chimes at Midnight / int_b5e63cc4 | comment |
Shadow Archetype: Prince Hal and Henry "Hotspur" Percy. | |
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| Chimes at Midnight / int_bec0417c | type |
Happily Married | |
| Chimes at Midnight / int_bec0417c | comment |
Happily Married: Hotspur and Lady Percy as in the play. Lady Kate can't keep her hands off her husband who she espies while he is in his bath. | |
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| Chimes at Midnight / int_c868a42a | type |
Freudian Excuse | |
| Chimes at Midnight / int_c868a42a | comment |
Freudian Excuse: Prince Hal is essentially forced to choose between two father figures, the King or the Fat Knight. | |
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| Chimes at Midnight / int_e7c671f3 | type |
Mildly Military | |
| Chimes at Midnight / int_e7c671f3 | comment |
Mildly Military: The ragged band of misfits, including a lady's tailor and a guy with a cough, that Falstaff assembles when he has to go march in support of King Henry. | |
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| Chimes at Midnight / int_eb584221 | type |
Why Are You Not My Son? | |
| Chimes at Midnight / int_eb584221 | comment |
Why Are You Not My Son?: King Henry IV wonders this about Hotspur, who is very much what he expects from Prince Hal. | |
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War Is Hell | |
| Chimes at Midnight / int_f1d6144a | comment |
War Is Hell: The Battle of Shrewsbury, shown here as a brutal conflict that drives common men to die for a petty cause, which includes conscripting several young men who can't fight into the King's army. | |
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| Chimes at Midnight / int_f55a1990 | type |
Disc-One Final Dungeon | |
| Chimes at Midnight / int_f55a1990 | comment |
Disc-One Final Dungeon: That Big Badass Battle Sequence that this movie is famous for? That takes place in the middle of the film. | |
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| Chimes at Midnight / int_f617419c | type |
Trial by Combat | |
| Chimes at Midnight / int_f617419c | comment |
Trial by Combat: Hal offers this but the Percies decline. | |
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| Chimes at Midnight / int_ff7f34c5 | type |
Pet the Dog | |
| Chimes at Midnight / int_ff7f34c5 | comment |
Pet the Dog: Before marching on France, King Henry V releases Falstaff and his friends, but of course Falstaff is dead to hear it, and most of his companions are poor, destitute, and lonely. | |
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Chimes at Midnight |
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