“It has always been a dream of mine to communicate how I feel about Shakespeare to other people.”

Plot Summary: A documentary directed by Al Pacino that explores Shakespeare’s historical drama Richard 111.

Review:

At the risk of sounding like a philistine I have to admit that watching Shakespeare sometimes feels more like a chore than a stimulating or enjoyable experience. One problem is the arcane historical references and archaic language: when was the last time you heard someone say “holp’st” for instance? Of course, there’s the additional problem the American ear has in trying to decipher that difficult dialogue when spoken by British actors. But the biggest problem I have is with the staginess. No matter how brilliantly written and acted there’s an inherent theatricality to Shakespeare which often makes for dull and static cinema. Notable exceptions include Orson Welles’ Othello and Roman Polanski’s Macbeth, both of which are thrillingly cinematic adaptations of the Bard, but most filmed Shakespeare is pretty tough going (not counting foreign language films like Ran and Throne of Blood which I don’t consider genuine Shakespeare adaptations as they necessarily lack the essential component of the Bard: the verbal poetry). Still, I have dutifully watched most of the major Shakespeare films including all of Lawrence Olivier’s. In fact, I’ve struggled through Olivier’s stagy, fatally overlong Richard 111 twice, probably because I repressed my memory of the first traumatic viewing.

And so it was with some hesitation that I finally decided to check out Al Pacino’s Looking for Richard, a documentary made over a span of four years that endeavors to make Shakespeare more accessible and relevant to modern audiences. It is also a labor of love for Pacino in which he enthusiastically communicates his passion for Richard 111. Exploring the play from various perspectives, Pacino walks the streets asking random New Yorkers for their opinions of the Bard, discusses the text with Shakespeare scholars, has discussions (and arguments) with friends about the play’s meaning, clarifies some of the more obscure plot details, holds casting meetings, auditions and rehearsals, goes location scouting, and performs key scenes with fellow thespians Kevin Spacey, Alec Baldwin, and Winona Ryder, among others. While Shakespeare aficionados and people like those on the street who tell Pacino that Shakespeare “sucks” are not likely to have much use for the film, it should appeal to people like myself who have a moderate interest in the Bard. I think Pacino more or less achieves what he set out to do: enhance the modern film audience’s appreciation for and understanding of Shakespeare in general and Richard 111 in particular, and it’s a testament to Pacino’s enthusiasm for the subject that I’m now almost tempted to watch Olivier’s Richard 111 for the third time. Almost. I definitely plan to watch Richard Loncraine’s updated version, however. Anyway, if you have any interest in Shakespeare at all - or for that matter Pacino, who emerges here as a passionate, witty, and charismatic fellow - I encourage you to give this unique documentary a look. You might be pleasantly surprised.

Note: Pacino wittily includes some references to The Godfather films: a scene between Richard (Pacino) and his brother Clarence (Alec Baldwin) is shot exactly like the famous “you broke my heart” scene between Michael and Fredo; someone wonders why Richard decides to keep murdering people even after he’s got the crown, which recalls Tom Hagen questioning why Michael wants to murder Hyman Roth after he’s already won the war; Pacino connects Richard and Michael again when he amusingly says “I’m sorry Fredo” during a rehearsal of Richard’s death scene.

Posted on March 12th, 2008 by Mat Viola
Filed under: Reviews