This review comes as the first in an informal look back on the work of Sir Kenneth Branagh in preparation for the release of his Murder on the Orient Express. That’s not until November, but what’s the harm in starting early?
Kenneth Branagh is one of my favorite directors. While he may not inhabit the inner-circle of greats, he is surely standing outside easily holding court with the likes of David Fincher, Oliver Stone, and even the much-loved Stanley Kubrick. Each of Branagh’s productions harkens back to a day of by-gone epic cinema, and while some may argue that his films are examples of style over substance, one need only look at brilliant acting in both Branagh’s Shakespeare adaptations and mainstream films to refute that statement.
And, it all started with Henry V, an adaptation of one of The Bard’s most popular historical plays. Done by that other master of Shakespearean film, Sir Laurence Olivier, in 1944, Branagh’s version of the story came four decades later, and put a darker, bleaker, and more modern sensibility to Shakespeare’s words. Even the moments in Shakespeare’s play which would have been traditionally played for laughs are somber and sincere under Branagh’s hand. Branagh, who made his directorial debut with the film, utilized the filmmaking techniques which had been perfected by other directors in their presentation of war films to give his Henry V a harder edge and, indeed, the climactic Battle of Agincourt pulls few punches and presents the violence and bloodshed with the utmost sincerity emphasizing the tragedy and grimness of war.
As is standard with a Kenneth Branagh film, the cast is filled with notable faces. Special mention must be made of Branagh’s frequent collaborator Sir Derek Jacobi, here who is simply mesmerizing as the Chorus, who acts as our guide and leads the viewer through the historical intricacies. Ian Holm, Robert Stephens, Judi Dench, Emma Thompson, and a plethora of others round out the ensemble.
Henry V may lack the opulence of Branagh’s other beloved Shakespeare adaptations, but its true-to-life presentation and fine performances make the film just as lofty as his others: each presenting the works of history’s greatest writer as they were intended to be seen.