0:00:34 > 0:00:38Since the invention of cinema, over a century ago,
0:00:38 > 0:00:43Shakespeare's plays have often been adapted for the big screen.
0:00:43 > 0:00:49But it took 50 years for his work to be turned into a truly cinematic experience.
0:00:58 > 0:01:02When audiences first saw Laurence Olivier's film of Henry V
0:01:02 > 0:01:06they were presented with a vision of Elizabethan London
0:01:06 > 0:01:10and a faithful recreation of a stage performance in 1600.
0:01:12 > 0:01:15In the chorus's opening speech, Shakespeare invites us
0:01:15 > 0:01:19to use the imagination of our mind's eye to overcome
0:01:19 > 0:01:21the limitations of the theatre.
0:01:22 > 0:01:25O, for a muse of fire,
0:01:25 > 0:01:30that would ascend the brightest heaven of invention, a kingdom for
0:01:30 > 0:01:35a stage, princes to act and monarchs to behold a swelling scene!
0:01:35 > 0:01:38Then should the warlike Harry, like himself,
0:01:38 > 0:01:43assume the port of Mars and at his heels, leash'd in like hounds,
0:01:43 > 0:01:46would famine, sword and fire crouch for employment.
0:01:48 > 0:01:52But pardon, gentles all, the flat unraised spirits that
0:01:52 > 0:01:56hath dared on this unworthy scaffold to bring forth so great an object.
0:01:57 > 0:02:02Can this cockpit hold the vasty fields of France?
0:02:02 > 0:02:07Or may we cram within this wooden O the very casques that did
0:02:07 > 0:02:10affright the air at Agincourt?
0:02:10 > 0:02:15As far as I was concerned, it may as well be the first Shakespeare
0:02:15 > 0:02:20film so, as far as I was concerned, it was the first Shakespeare film.
0:02:29 > 0:02:32Olivier used the camera's eye to take us
0:02:32 > 0:02:36from a deliberately stylised world of medieval sets...
0:02:39 > 0:02:43..to the glorious cinematic reality of the fields of Agincourt.
0:02:43 > 0:02:48On location with a cast of hundreds and filmed in rich Technicolor.
0:02:56 > 0:03:00Olivier's example inspired film-makers worldwide
0:03:00 > 0:03:04to make boldly cinematic versions of Shakespeare's plays.
0:03:10 > 0:03:14HE YELLS
0:03:20 > 0:03:25In Japan, Macbeth was reinvented as a fantastical samurai drama
0:03:25 > 0:03:29with the clash of swords replaced by a hailstorm of arrows.
0:03:37 > 0:03:41In Russia, Hamlet was interpreted as one man's struggle
0:03:41 > 0:03:44against tyranny, filmed on an epic scale,
0:03:44 > 0:03:47Soviet style, with a towering ghost to match.
0:04:06 > 0:04:10And Romeo and Juliet was given a sumptuous youthful treatment
0:04:10 > 0:04:14in sun-drenched Italy, in tune with the rebellious spirit of the '60s.
0:04:16 > 0:04:19HE YELLS
0:04:29 > 0:04:33None of these films would have been possible without Olivier
0:04:33 > 0:04:35leading the way.
0:04:36 > 0:04:38I was very snobby about films.
0:04:38 > 0:04:41I did them to make money and said so, all over the place
0:04:41 > 0:04:45much to the disgust of the Sam Goldwyns of this world.
0:04:45 > 0:04:49But the man who changed me was the man I quarrelled with most
0:04:49 > 0:04:53bitterly of all, really, and that was William Wyler.
0:04:53 > 0:04:57He told me that I must understand there wasn't anything that
0:04:57 > 0:05:02could not be done in that medium, if you found the way to do it
0:05:02 > 0:05:04and it was he who persuaded me
0:05:04 > 0:05:08that you could even do Shakespeare successfully on film.
0:05:18 > 0:05:19Plane!
0:05:27 > 0:05:31When Olivier made Henry V, Britain had survived the Blitz
0:05:31 > 0:05:36and the threat of invasion but was still at war with Nazi Germany.
0:05:38 > 0:05:41Winston Churchill himself instructed Britain's
0:05:41 > 0:05:45greatest actor to make the film both to boost morale
0:05:45 > 0:05:47and to defend British culture.
0:05:51 > 0:05:55Olivier gave rousing speeches to inspire the Armed Forces.
0:05:57 > 0:06:01His declamatory manner determined how he would play Henry V.
0:06:06 > 0:06:08We will go forward,
0:06:08 > 0:06:14hearts, nerve and spirit steel,
0:06:14 > 0:06:18we were attacked, we must smite our foes!
0:06:18 > 0:06:19We will conquer!
0:06:19 > 0:06:23I see you stand like greyhounds in the slips, straining upon the start.
0:06:23 > 0:06:26The game's afoot. Follow your spirit,
0:06:26 > 0:06:33and upon this charge, cry, "God for Harry, England, and Saint George!"
0:06:33 > 0:06:38- ALL:- God for Harry, England, and Saint George!
0:06:38 > 0:06:44- ALL:- God for Harry, England, and Saint George!
0:06:44 > 0:06:47Henry V was a massive success.
0:06:47 > 0:06:49Bringing Shakespeare to people who had never
0:06:49 > 0:06:51seen his plays in the theatre.
0:06:55 > 0:06:58Olivier was encouraged to follow it with the first feature
0:06:58 > 0:07:00film of Hamlet.
0:07:00 > 0:07:04Shakespeare's most psychologically complex play.
0:07:07 > 0:07:10Filming in atmospheric black and white,
0:07:10 > 0:07:14Olivier used even more ambitious cinematic techniques to
0:07:14 > 0:07:17translate Shakespeare uniquely for the screen.
0:07:23 > 0:07:27When Hamlet delivers the most famous soliloquy of all,
0:07:27 > 0:07:31Olivier places himself high up on a cliff above the sea, speaking
0:07:31 > 0:07:36both directly and in a voice-over to allow us to enter
0:07:36 > 0:07:38the character's turbulent mind.
0:07:39 > 0:07:42To be...
0:07:42 > 0:07:43or not to be?
0:07:45 > 0:07:48That is the question.
0:07:55 > 0:08:00Whether it is nobler in the mind to suffer the slings
0:08:00 > 0:08:05and arrows of outrageous fortune or to take
0:08:05 > 0:08:09arms against a sea of troubles
0:08:09 > 0:08:14and by opposing...
0:08:14 > 0:08:16end them.
0:08:20 > 0:08:24Shakespeare's play at full length runs four hours.
0:08:24 > 0:08:27Olivier found a thematic device which enabled him
0:08:27 > 0:08:30to reduce the play to a manageable cinematic length.
0:08:31 > 0:08:35Freud's psychology was fashionable at the time
0:08:35 > 0:08:39and Olivier chose to interpret the central story of Hamlet's
0:08:39 > 0:08:41mother marrying his murdered father's brother
0:08:41 > 0:08:44through the Oedipus complex.
0:08:44 > 0:08:47A morbid obsession of a son for his mother.
0:08:50 > 0:08:55Let not thy mother lose her prayers, Hamlet. I pray thee, stay with us.
0:08:55 > 0:09:00- Go not to Wittenberg.- I shall in all my best obey you, madam.
0:09:00 > 0:09:06Why, 'tis a loving and a fair reply be as ourself in Denmark.
0:09:08 > 0:09:09Madam, come.
0:09:09 > 0:09:13It at least gave one a central idea which seemed to fulfil
0:09:13 > 0:09:19the great vacuum provided by all the crossed ideas about Hamlet,
0:09:19 > 0:09:21what he really was, what he really wasn't,
0:09:21 > 0:09:24whether he was a man of action, whether he wasn't a man of action.
0:09:24 > 0:09:27Now, he could perfectly safely be a man of action under
0:09:27 > 0:09:29the auspices of that particular idea.
0:09:31 > 0:09:33Something is rotten in the State of Denmark.
0:09:38 > 0:09:42I liked the atmosphere of this film.
0:09:42 > 0:09:44Somehow romantic.
0:09:46 > 0:09:49This mysterious geography,
0:09:49 > 0:09:54you could not determine the shape of the castle,
0:09:54 > 0:09:59the floor on which this camera gliding through these corridors.
0:09:59 > 0:10:04I loved the performances. Every single one of them.
0:10:04 > 0:10:07I love the photography and the music. Just everything about it.
0:10:13 > 0:10:17An inspiration to film-makers around the world, Hamlet was a
0:10:17 > 0:10:19box-office success.
0:10:19 > 0:10:24And the first British production to win the Oscar for best picture.
0:10:33 > 0:10:37In the same year, across the Atlantic, the precocious actor
0:10:37 > 0:10:42and director Orson Welles made a dark savage version of Macbeth.
0:10:42 > 0:10:46The maverick film-maker had become ostracised in Hollywood,
0:10:46 > 0:10:49obliging him to work on poverty-row resources.
0:10:56 > 0:10:59HE PRAYS
0:11:05 > 0:11:08Of course, the style of it was entirely dictated,
0:11:08 > 0:11:14it was done as a...as a B picture, quickie.
0:11:14 > 0:11:17I thought I'd have a great success with it and then I'd be allowed to
0:11:17 > 0:11:21do all kinds of difficult things, as long as they were cheap.
0:11:21 > 0:11:24But, it was a big critical failure.
0:11:26 > 0:11:28The biggest critical failure ever I'd had.
0:11:35 > 0:11:37Welles' passion for Shakespeare,
0:11:37 > 0:11:41which had begun by directing his plays in the theatre, was unabated.
0:11:41 > 0:11:46Unloved by Hollywood, he moved to Europe where his genius has
0:11:46 > 0:11:48always been recognised.
0:11:50 > 0:11:55He had no qualms casting himself as Othello, the imperious Moor
0:11:55 > 0:11:57destroyed by jealousy,
0:11:57 > 0:12:00like Olivier, Welles realised the potential cinema
0:12:00 > 0:12:04gave for location and with his dynamic framing and rapid-fire
0:12:04 > 0:12:08editing, he brought an entirely new energy to filming Shakespeare.
0:12:08 > 0:12:09General!
0:12:09 > 0:12:14- I swear 'tis better to be much abused than but to know't a little. - My Lord.- Is my Lord angry?
0:12:14 > 0:12:17He went hence but now, Iago, and certainly in strange unquietness.
0:12:17 > 0:12:22I will go seek him. There's matter indeed if he be angry.
0:12:23 > 0:12:27When Iago goads Othello, crashing waves underscore
0:12:27 > 0:12:30the intensity of the scene.
0:12:30 > 0:12:33Villain, be sure thou proves my love a whore, be sure of it.
0:12:35 > 0:12:37Give me the ocular proof
0:12:37 > 0:12:39Or by the worth of man's immortal soul, thou hadst been better
0:12:39 > 0:12:41have been born a dog than answer my waked wrath!
0:12:41 > 0:12:44- Oh, Grace! - Make me to see't, or, at the least, so prove it, that the probation
0:12:44 > 0:12:48bear no hinge nor loop to hang a doubt on, nor woe upon thy life!
0:12:48 > 0:12:51Never pray more. Abandon all remorse.
0:12:51 > 0:12:54For nothing canst thou to damnation add greater than that.
0:12:54 > 0:12:55O, monstrous world!
0:12:55 > 0:12:59Take note, take note, O world, to be direct and honest is not safe.
0:12:59 > 0:13:06By the world, I think my wife be honest...and think she is not.
0:13:06 > 0:13:09A large company, biggest company I've ever
0:13:09 > 0:13:15had as a director on location of about 70 people, I think it was.
0:13:15 > 0:13:18Besides the actors and everything.
0:13:18 > 0:13:23Came to Mogador on the West Coast of Africa to shoot
0:13:24 > 0:13:29Othello and we arrived and got a telegram the day after
0:13:29 > 0:13:33we arrived that Scalera, the biggest Italian movie studio
0:13:33 > 0:13:36with whom I had a contract to make the picture, had gone bankrupt.
0:13:38 > 0:13:42And we had no money, we were in Africa and we had no costumes,
0:13:42 > 0:13:43nothing.
0:13:47 > 0:13:49Welles was not one to let lack of funds
0:13:49 > 0:13:52and costumes inhibit his imagination.
0:13:52 > 0:13:56While Shakespeare sets the murder of Roderigo simply in a chamber,
0:13:56 > 0:13:58Welles filmed it in a local bathhouse.
0:13:59 > 0:14:01Iago?
0:14:13 > 0:14:14Iago.
0:14:45 > 0:14:49While Welles struggled to find financial backing,
0:14:49 > 0:14:52on the other side of the world, the Soviet Union provided
0:14:52 > 0:14:56unlimited money and resources to make an epic version of Hamlet.
0:14:59 > 0:15:02Under Khrushchev, the artistic thaw supported a vision of the play
0:15:02 > 0:15:06which reflected the tyranny of the former regime.
0:15:18 > 0:15:20SHE SOBS
0:15:27 > 0:15:29CANNON FIRE
0:15:35 > 0:15:40Director Grigori Kozintsev stressed the oppressive scale of the castle,
0:15:40 > 0:15:44echoing Hamlet's poetic description of Denmark as a prison.
0:15:45 > 0:15:49Like Olivier, Kozintsev greatly reduced the original length of the play,
0:15:49 > 0:15:53but his Russian translation remained faithful to Shakespeare.
0:15:55 > 0:15:58'You know, every nation has his own Shakespeare
0:15:58 > 0:16:02'and in Russia - there is a very long tradition
0:16:02 > 0:16:06'in Russian literature from the beginning of the 19th century -
0:16:06 > 0:16:09'all great Russian writers,
0:16:09 > 0:16:12'such as Pushkin, Dostoyevsky...
0:16:12 > 0:16:17'many, many were admirers of Shakespeare.
0:16:17 > 0:16:22'But, of course, our own understanding of Shakespeare,
0:16:22 > 0:16:27'we have many good school of translations, different translations.
0:16:27 > 0:16:33'I used the translation by Boris Pasternak, it is a free version.
0:16:33 > 0:16:37'It is in contemporary Russian, a modern Russian, without any
0:16:37 > 0:16:42'kind of declamation. But, of course, it is translation of a great poet.
0:16:48 > 0:16:50HE SPEAKS RUSSIAN
0:17:22 > 0:17:27In Japan, another major film-maker, Akira Kurosawa, showed it was
0:17:27 > 0:17:30possible to disregard the verse entirely.
0:17:30 > 0:17:33He took the plot, principal characters
0:17:33 > 0:17:36and the supernatural atmosphere of Macbeth and placed them
0:17:36 > 0:17:39in a completely different cultural context.
0:17:45 > 0:17:48HE SPEAKS JAPANESE
0:18:08 > 0:18:10HE SPEAKS JAPANESE
0:18:45 > 0:18:49Kurosawa replaces Macbeth and Banquo encountering the three witches
0:18:49 > 0:18:52with his two warriors lost in an eerie forest
0:18:52 > 0:18:55meeting a solitary ghost.
0:18:55 > 0:18:59A figure out of the classical Japanese tradition of Noh theatre.
0:19:01 > 0:19:03HE SINGS IN JAPANESE
0:19:10 > 0:19:13HE SPEAKS JAPANESE
0:19:31 > 0:19:35Lady Macbeth has spurred her husband into murdering the king
0:19:35 > 0:19:38in his sleep and anxiously waits for his return.
0:19:40 > 0:19:44Kurosawa reaches beyond cinema back into a theatre that is
0:19:44 > 0:19:47ancient and utterly non-naturalistic.
0:19:47 > 0:19:51The music and gestures of Noh enable him to penetrate the psychology
0:19:51 > 0:19:55of one Shakespeare's most complex characters.
0:20:23 > 0:20:27Kurosawa's film with its marriage of Japanese culture
0:20:27 > 0:20:31and cinematic power set a new benchmark in world cinema.
0:20:31 > 0:20:35It showed that Shakespeare's universal themes and imagery
0:20:35 > 0:20:39could be realised on the screen even without a Western context
0:20:39 > 0:20:42or the English language.
0:20:51 > 0:20:54When cinema began, Shakespeare provided a ready source
0:20:54 > 0:20:57of scenes and stories
0:20:57 > 0:21:00and gave respectability to a new medium which was widely regarded
0:21:00 > 0:21:03as a passing fad.
0:21:03 > 0:21:07More than 400 silent films were adapted from Shakespeare.
0:21:07 > 0:21:10The earliest to survive wasn't a work in itself,
0:21:10 > 0:21:13but an advertisement for a stage performance of King John,
0:21:13 > 0:21:17starring the great actor-manager Sir Herbert Beerbohm Tree.
0:21:22 > 0:21:24As the cinema rapidly developed,
0:21:24 > 0:21:29Shakespeare was soon filmed all over the world and on location.
0:21:29 > 0:21:32An Italian company made compressed versions of the plays,
0:21:32 > 0:21:34including this King Lear,
0:21:34 > 0:21:37delicately hand-tinted for cinematic effect.
0:21:46 > 0:21:49It was the magical and fantastical plays that provided
0:21:49 > 0:21:51the richest source material.
0:21:51 > 0:21:55This version of A Midsummer Night's Dream shot in Brooklyn
0:21:55 > 0:21:59gives an early indication of Shakespeare's cinematic potential.
0:22:02 > 0:22:05Puck flies, appears,
0:22:05 > 0:22:10disappears and transforms Bottom into a donkey with a simple cut.
0:22:16 > 0:22:18Without Shakespeare's words,
0:22:18 > 0:22:21film-makers could play around with the themes and stories.
0:22:21 > 0:22:26The great silent star Asta Nielsen became Princess Hamlet.
0:22:26 > 0:22:30Her androgynous appeal made her believable as a woman in disguise,
0:22:30 > 0:22:34hiding her secret from the man she loves - Horatio.
0:22:41 > 0:22:44Silent film was too limited to produce a truly great
0:22:44 > 0:22:48cinematic realisation of a Shakespeare play.
0:22:48 > 0:22:53The movie pioneer DW Griffith presented a spirited performance
0:22:53 > 0:22:57by Florence Lawrence as Kate in The Taming Of The Shrew.
0:22:57 > 0:23:01But without the banter between her and her suitor Petruchio
0:23:01 > 0:23:04the film could only go so far.
0:23:15 > 0:23:18Hollywood would often return to The Taming Of The Shrew
0:23:18 > 0:23:20in different guises.
0:23:21 > 0:23:25In fact, it could be said that the turbulent relationship of Kate
0:23:25 > 0:23:30and Petruchio was the foundation of one of Hollywood's enduring genres -
0:23:30 > 0:23:33the battle of the sexes comedy.
0:23:39 > 0:23:42The very first sound film of a Shakespeare play
0:23:42 > 0:23:45was a heavily cut version of The Taming Of The Shrew.
0:23:45 > 0:23:48It starred Hollywood's most glamorous couple,
0:23:48 > 0:23:50Douglas Fairbanks and Mary Pickford
0:23:50 > 0:23:55and allowed them to act out on screen their perceived true life relationship.
0:23:55 > 0:23:59Oh, come, come, you wasp - you are too angry.
0:23:59 > 0:24:04If I be waspish, best beware my sting!
0:24:04 > 0:24:06HE LAUGHS
0:24:06 > 0:24:10- Oh, come Kate, come. Why not be friends?- Let me go.
0:24:10 > 0:24:12Let me loose, fool.
0:24:12 > 0:24:17They told me that you were rough and sullen, but no, I find you kind and gentle.
0:24:17 > 0:24:19Thou canst not frown, nor look askance,
0:24:19 > 0:24:25nor bite thy lip as angry wenches will. Thou art pleasant,
0:24:25 > 0:24:26courteous,
0:24:26 > 0:24:28and sweet as springtime flowers.
0:24:32 > 0:24:37Shakespeare's play later became a witty Cole Porter musical.
0:24:39 > 0:24:44# I hate men
0:24:45 > 0:24:48# I can't abide them even now and then
0:24:49 > 0:24:54# Than ever marry one of them, I'd rest a maiden rather
0:24:54 > 0:24:59# For husbands are a boring lot and only give you bother
0:24:59 > 0:25:06# Of course, I'm awfully glad that Mother deemed to marry Father
0:25:06 > 0:25:12# But I hate men. #
0:25:16 > 0:25:19In McLintock! The Taming Of The Shrew became a western.
0:25:19 > 0:25:24The film was produced by and starred John Wayne.
0:25:24 > 0:25:29The sexual politics now seem alarming, but they do reflect the original story.
0:25:29 > 0:25:32You've been digging those spurs into me for two years,
0:25:32 > 0:25:35- now you're going to get your comeuppance.- Oh, you...
0:25:35 > 0:25:37Thanks.
0:25:37 > 0:25:38SHE SCREAMS
0:25:38 > 0:25:40My father would be proud of you.
0:25:44 > 0:25:47# When you know I can't answer the... #
0:25:47 > 0:25:49That story has proved over and over again
0:25:49 > 0:25:52that it transcends changing times.
0:25:52 > 0:25:55In a teenage romcom twist on the play,
0:25:55 > 0:25:59Kate is no longer a shrew, but a modern feminist.
0:25:59 > 0:26:02Excuse me, have you seen The Feminine Mystique, I've lost my copy?
0:26:02 > 0:26:05- What are you doing here? - I heard there was a poetry reading.
0:26:05 > 0:26:08- You're so...- Charming.
0:26:08 > 0:26:10Wholesome.
0:26:10 > 0:26:12Unwelcome.
0:26:14 > 0:26:16You're not as mean as you think you are, you know that?
0:26:16 > 0:26:19And you're not as badass you think you are.
0:26:19 > 0:26:21Oh, someone still has her panties in a twist.
0:26:21 > 0:26:24Don't for one minute think that you had any effect whatsoever on my panties.
0:26:24 > 0:26:26Then what did I have an effect on?
0:26:26 > 0:26:28Other then my upchuck reflex, nothing.
0:26:34 > 0:26:38Hollywood was at its most successful with Shakespeare
0:26:38 > 0:26:40by absorbing elements of his stories
0:26:40 > 0:26:44and characters into established genres.
0:26:44 > 0:26:46Hamlet became a film noir.
0:26:50 > 0:26:52While King Lear was refashioned as a Western.
0:26:55 > 0:26:59And the Tempest made into a science fiction movie.
0:27:05 > 0:27:08Hollywood had no trouble with the stories and magic of Shakespeare
0:27:08 > 0:27:11that could be expressed in its own language.
0:27:11 > 0:27:15The problem was Shakespeare's language.
0:27:26 > 0:27:30In the golden era of Hollywood, the two most prestigious films
0:27:30 > 0:27:33of his plays bombed at the box office.
0:27:33 > 0:27:37A starry cast and the skills of the great German theatre director
0:27:37 > 0:27:41Max Reinhardt failed to enchant the critics or the public.
0:27:43 > 0:27:46The spectacle might have been lavish, but the performances
0:27:46 > 0:27:50were incongruously theatrical and old-fashioned.
0:27:50 > 0:27:56Ill met by Moonlight, proud Titania.
0:27:56 > 0:27:59What, jealous Oberon?
0:27:59 > 0:28:02Fairies, skip hence.
0:28:02 > 0:28:05I have forsworn his bed and company.
0:28:07 > 0:28:10In MGM's Romeo and Juliet,
0:28:10 > 0:28:14the star-crossed lovers were somewhat mature, to say the least.
0:28:14 > 0:28:17O, speak again, bright angel,
0:28:17 > 0:28:20for thou art as glorious to this night, being o'er my head,
0:28:20 > 0:28:23as is a winged messenger of heaven
0:28:24 > 0:28:28O, Romeo, Romeo,
0:28:28 > 0:28:30wherefore art thou Romeo.
0:28:32 > 0:28:35People said Shearer was much too old? What do you think about this?
0:28:35 > 0:28:39Well, she wasn't, she wasn't a child, as it was said.
0:28:39 > 0:28:42she wasn't all that old at that time. She was lovely looking.
0:28:42 > 0:28:46I think there's a great misconception that
0:28:46 > 0:28:48because she was supposed to be 14,
0:28:48 > 0:28:55maybe an Italian girl of 14 of that period was a little more mature.
0:28:55 > 0:28:59Also, they say when an actress - the tradition is when an actress
0:28:59 > 0:29:01can play Juliet, she's too old for it.
0:29:07 > 0:29:10Goodnight, goodnight.
0:29:10 > 0:29:12Parting is such sweet sorrow...
0:29:13 > 0:29:16..that I shall say goodnight till it be morrow.
0:29:22 > 0:29:27It took an Italian director to cast real teenagers as Romeo and Juliet
0:29:27 > 0:29:32and repeat Olivier's success in making Shakespeare widely popular again.
0:29:32 > 0:29:37Franco Zeffirelli forged his radical approach in the English theatre.
0:29:37 > 0:29:40His stage productions of Romeo and Juliet
0:29:40 > 0:29:44and Much Ado About Nothing were praised more for their energy
0:29:44 > 0:29:46than for their attention to the verse.
0:29:46 > 0:29:49When your purists say that Shakespeare is based entirely
0:29:49 > 0:29:52on the beauty of verses, they're completely wrong.
0:29:52 > 0:29:55Because otherwise, how do you explain that Shakespeare is
0:29:55 > 0:30:00the greatest poet, playwright in Italy, or in France, in Germany?
0:30:00 > 0:30:03Because there is something beyond poetry that really matters
0:30:03 > 0:30:05and is essential.
0:30:05 > 0:30:08..the moment that Juliet will arrive...
0:30:08 > 0:30:11INDISTINCT CONVERSATION
0:30:11 > 0:30:14Zeffirelli proved his case with Romeo And Juliet,
0:30:14 > 0:30:18a British-Italian co-production shot on location.
0:30:18 > 0:30:22His young cast played the characters in the naturalistic style
0:30:22 > 0:30:25that had developed out of the New York-based Actors Studio,
0:30:25 > 0:30:29which has produced such dynamic stars as Marlon Brando,
0:30:29 > 0:30:32Dustin Hoffman and Al Pacino.
0:30:40 > 0:30:43Hold one moment.
0:30:43 > 0:30:46This is a very important moment, because it's the first time,
0:30:46 > 0:30:49the first time you see Romeo after the balcony scene,
0:30:49 > 0:30:52which only took place a few hours before.
0:30:52 > 0:30:56So it was only a dream, a dream-like planet, and now it becomes true,
0:30:56 > 0:31:00so your first instinct is to kiss him, "He is my man,"
0:31:00 > 0:31:02he's going to be my husband in a minute.
0:31:02 > 0:31:03HE SPEAKS ITALIAN
0:31:03 > 0:31:05'I selected two young people today
0:31:05 > 0:31:08'that corresponded to a certain image,
0:31:08 > 0:31:10'a certain blend between classical qualities'
0:31:10 > 0:31:15and contemporary qualities and these two kids have them.
0:31:15 > 0:31:19And I asked them to do a work of identification,
0:31:19 > 0:31:21in a way, but only in a way,
0:31:21 > 0:31:24the method of the Actors Studio.
0:31:24 > 0:31:27'I constantly explained them the scenes
0:31:27 > 0:31:33'from a very matter-of-fact point of start to them.
0:31:33 > 0:31:37'"If you were in such and such a situation,
0:31:37 > 0:31:39'"how would you react and behave?"
0:31:39 > 0:31:43'Then the words come later. If I had started with the words,
0:31:43 > 0:31:45'we would have been lost.'
0:31:45 > 0:31:49What matters is that they feel
0:31:49 > 0:31:51that they are living naturally a moment of their life
0:31:51 > 0:31:54and that moment of their life coincides
0:31:54 > 0:31:56with what Shakespeare wanted from those characters.
0:31:56 > 0:31:58Here comes the lady.
0:31:58 > 0:31:59O, so light a foot
0:31:59 > 0:32:02- Will ne'er wear out the everlasting flint.- Juliet!
0:32:07 > 0:32:09- FRIAR TUTS - Good even to my ghostly confessor.
0:32:09 > 0:32:12Romeo shall thank thee, daughter, for us both.
0:32:14 > 0:32:15Ah, Juliet,
0:32:15 > 0:32:16if the measure of thy joy
0:32:16 > 0:32:18Be heaped like mine,
0:32:18 > 0:32:20that thy skill be more to blazon it
0:32:20 > 0:32:23then sweeten with thy breath this neighbour air.
0:32:23 > 0:32:25They are but beggars that can count their worth.
0:32:25 > 0:32:28But my true love is grown to such excess
0:32:28 > 0:32:31I cannot sum up sum of half my wealth.
0:32:31 > 0:32:33THE FRIAR TUTS
0:32:33 > 0:32:36The case of Romeo and Juliet is a very typical case
0:32:36 > 0:32:40that shows how great Shakespeare would have been
0:32:40 > 0:32:42if he'd lived today as a scriptwriter.
0:32:42 > 0:32:45It's really the closest example in classical theatre
0:32:45 > 0:32:49to what a modern scriptwriter should be for movies.
0:33:02 > 0:33:07'Fear not, till Birnam Wood do come to Dunsinane.
0:33:08 > 0:33:12'And now, a wood comes towards Dunsinane.'
0:33:17 > 0:33:21During the shot, when I give the cue, "Action, blue,"
0:33:21 > 0:33:24take some of those trees off the front of that catapult,
0:33:24 > 0:33:25special action for you.
0:33:25 > 0:33:27Working on challenging locations,
0:33:27 > 0:33:32another international director, the Polish Roman Polanski,
0:33:32 > 0:33:35filmed Shakespeare's bloodiest play with gritty authenticity.
0:33:35 > 0:33:38It's not cold today. You know, try.
0:33:38 > 0:33:39OK?
0:33:41 > 0:33:44'It's a very bloody play, you know.
0:33:44 > 0:33:48'As Jan Kott, a Polish scholar, puts it,
0:33:48 > 0:33:51'it's "steeped in blood" itself.'
0:33:53 > 0:33:55INDISTINCT CONVERSATION
0:33:56 > 0:33:58OK. All right.
0:34:00 > 0:34:03Eyes wide open. Don't move. Action!
0:34:03 > 0:34:04WOMAN SCREAMS
0:34:06 > 0:34:08SCREAMING INTENSIFIES
0:34:10 > 0:34:14In underlining the darkness and grotesque cruelty of the play,
0:34:14 > 0:34:19Polanski drew on his childhood memories of Nazi-occupied Poland.
0:34:19 > 0:34:21GLASS BREAKS
0:34:21 > 0:34:24This is another thing, when they were raiding houses,
0:34:24 > 0:34:26you always heard those screams everywhere,
0:34:26 > 0:34:29on the second floor, on the ground floor,
0:34:29 > 0:34:32you know, it was like stereo around your apartment,
0:34:32 > 0:34:34you have people screaming in various...
0:34:34 > 0:34:36They were beating someone,
0:34:36 > 0:34:40or shooting someone, or dragging someone out, so...
0:34:41 > 0:34:43..I remembered that.
0:34:47 > 0:34:49HYSTERICAL SCREAMING
0:34:53 > 0:34:55FLAMES CRACKLE
0:35:13 > 0:35:17In King Lear, I try to show
0:35:17 > 0:35:20the development of fire.
0:35:20 > 0:35:25At first, there's a fire place. It's something perhaps prehistorical.
0:35:26 > 0:35:29A patriarchal fire.
0:35:29 > 0:35:32HIGH-PITCHED TRUMPETS
0:35:34 > 0:35:40After that is a fire, the king's baggage train with torches.
0:35:42 > 0:35:47After that, soldiers put fire on the countryside.
0:35:47 > 0:35:49The town is burned and the kingdom is burned
0:35:49 > 0:35:53and the whole screen is on fire.
0:35:53 > 0:35:58In the same time, on the soundtrack,
0:35:58 > 0:36:02Shostakovich composed a requiem,
0:36:02 > 0:36:08not the naturalistic sounds of the battle,
0:36:08 > 0:36:12but a kind of lament, a requiem.
0:36:12 > 0:36:14A lament of human beings,
0:36:14 > 0:36:17a great requiem at this total catastrophe.
0:36:23 > 0:36:26FLAMES CRACKLE
0:36:26 > 0:36:28MOURNFUL CHORAL SINGING
0:36:49 > 0:36:53In his second epic excursion into Shakespeare,
0:36:53 > 0:36:57Akira Kurosawa also saw King Lear in apocalyptic terms.
0:36:58 > 0:37:03Ran, his radical, visually stunning adaptation of the play,
0:37:03 > 0:37:06features a terrifying scene of death and destruction
0:37:06 > 0:37:09when his Lear is under siege.
0:37:09 > 0:37:13Kurosawa amplifies the emotional effect of the images by replacing
0:37:13 > 0:37:18the sounds of battle with Tour Takemitsu's symphonic score.
0:37:18 > 0:37:22DRAMATIC SYMPHONIC MUSIC
0:37:42 > 0:37:45SHOUTING, CARRIAGE WHEELS RATTLE
0:37:53 > 0:37:55DRIVER YELLS TO HORSES
0:37:57 > 0:38:01King Lear is one of Shakespeare's most challenging plays
0:38:01 > 0:38:03to be produced in the theatre.
0:38:03 > 0:38:07Yet it has given us three of the greatest Shakespeare films.
0:38:10 > 0:38:15Peter Brook directed a legendary stage production in 1962.
0:38:16 > 0:38:19He then sought to transfer this stark
0:38:19 > 0:38:23and alienated vision of King Lear from the stage to the screen.
0:38:24 > 0:38:27He filmed it in the frozen wilderness of Denmark,
0:38:27 > 0:38:30preserving for posterity the power
0:38:30 > 0:38:33of Paul Scofield's magisterial performance.
0:38:35 > 0:38:37I put the emphasis in the film
0:38:37 > 0:38:41on making the background of it plausible,
0:38:41 > 0:38:44which is why we made this, really,
0:38:44 > 0:38:47in this wild, frozen landscape in Denmark
0:38:47 > 0:38:52so that you could feel the essence of this prehistoric England.
0:38:52 > 0:38:54WIND HOWLS
0:38:56 > 0:38:59The realism gave many things -
0:38:59 > 0:39:02it enabled one to be very close to Paul.
0:39:04 > 0:39:08For me, where you really feel the essence of Paul's Lear
0:39:08 > 0:39:10is at the very beginning,
0:39:10 > 0:39:15that big close-up of Paul when he says the first words
0:39:15 > 0:39:20and there, immediately, into the outer and inner man
0:39:20 > 0:39:23he was playing as King Lear.
0:39:23 > 0:39:24Know...
0:39:26 > 0:39:28..that we have divided
0:39:28 > 0:39:30in three
0:39:30 > 0:39:31our kingdom...
0:39:34 > 0:39:38..and 'tis our fast intent
0:39:38 > 0:39:44To shake all cares and business from our age...
0:39:45 > 0:39:49..conferring them on younger strengths
0:39:49 > 0:39:53while we, unburdened,
0:39:53 > 0:39:54crawl toward death.
0:40:00 > 0:40:03While in the theatre great performances
0:40:03 > 0:40:05are by definition evanescent,
0:40:05 > 0:40:08on film, they are captured for all time
0:40:08 > 0:40:10and for all audiences.
0:40:12 > 0:40:14No-one saw that more clearly than Orson Welles.
0:40:14 > 0:40:18His greatest Shakespeare film was not the realisation
0:40:18 > 0:40:21of one particular play, but the realisation on film
0:40:21 > 0:40:26of Shakespeare's greatest comic character, Sir John Falstaff.
0:40:28 > 0:40:30Chimes At Midnight is one film made
0:40:30 > 0:40:34from the five historical plays that feature Falstaff,
0:40:34 > 0:40:37a comic figure who becomes tragic,
0:40:37 > 0:40:40unable to cope with the changing times.
0:40:41 > 0:40:46It's very rare that in literature we have a fascinating character,
0:40:46 > 0:40:49a work of fiction, a creation,
0:40:49 > 0:40:50of a good man who is fascinating.
0:40:50 > 0:40:53There are very few of those in all literature.
0:40:53 > 0:40:57Falstaff is certainly pre-eminent in that respect.
0:40:57 > 0:41:01Jesus, the days that we've seen!
0:41:01 > 0:41:03Ha, Sir John, said I well?
0:41:03 > 0:41:08We have heard the chimes at midnight, Master Robert Shallow.
0:41:08 > 0:41:11That we have, that we have, that we have.
0:41:11 > 0:41:15Merry England was dead and gone in Elizabethan times.
0:41:15 > 0:41:18It was a dream, it maybe never existed,
0:41:18 > 0:41:21but it was very real in Shakespeare's mind.
0:41:21 > 0:41:24Well, Falstaff, the king hath severed you and Prince Harry.
0:41:24 > 0:41:27Yes, I thank your pretty wit for it.
0:41:28 > 0:41:30Prince John of Lancaster:
0:41:30 > 0:41:34good faith, this same sober-blooded boy doth not love me,
0:41:34 > 0:41:36nor a man cannot make him laugh -
0:41:36 > 0:41:39but that's no marvel: he drinks no wine!
0:41:39 > 0:41:43There's never any of these demure boys come to any proof,
0:41:43 > 0:41:47for thin drink doth so over-cool their blood
0:41:47 > 0:41:50that they are generally fools and cowards.
0:41:50 > 0:41:52Which some of us should be too,
0:41:52 > 0:41:56- but for...inflammation. - LAUGHTER
0:41:56 > 0:41:57Do you feel nostalgic for that world,
0:41:57 > 0:42:01if you'd lived in Shakespeare's England?
0:42:01 > 0:42:03Uh, yeah, of course, I do now.
0:42:03 > 0:42:06I think all Anglo-Saxons feel nostalgic for it.
0:42:06 > 0:42:09They apologise for it and giggle self-consciously
0:42:09 > 0:42:13and say it's all Christmas cards and so on, but we know what we mean.
0:42:14 > 0:42:16Something to do with May time, and...
0:42:17 > 0:42:21..a May time that never happened, properly, a spring that never was,
0:42:21 > 0:42:24but it has an extraordinary reality, I admit.
0:42:24 > 0:42:26SOLDIERS CRY OUT
0:42:30 > 0:42:32Aside from his central performance,
0:42:32 > 0:42:37Welles the director gives the cinema one of the great battle scenes.
0:42:37 > 0:42:39He illustrated chivalric glory
0:42:39 > 0:42:42descending into mud-splattered savagery.
0:42:50 > 0:42:52SOLDIERS ROAR, STEEL CLASHES
0:42:59 > 0:43:01The main battle, the idea of it,
0:43:01 > 0:43:04is to show the poor foot soldiers' viewpoint of a battle
0:43:04 > 0:43:07which is being run by people in armour
0:43:07 > 0:43:12and plumes. It's kind of Falstaff's ragged army viewpoint.
0:43:33 > 0:43:35KNIGHTS SHOUT AND CALL OUT
0:43:38 > 0:43:41Shakespeare, in a way, belonged to our modern world, really.
0:43:41 > 0:43:44He was at the beginning of it, I think.
0:43:44 > 0:43:45MATCH STRIKES
0:43:48 > 0:43:51O, for a Muse of fire,
0:43:51 > 0:43:56that would ascend the brightest heaven of invention.
0:43:58 > 0:44:00In the year Olivier died,
0:44:00 > 0:44:04the young actor/director Kenneth Branagh followed in his footsteps
0:44:04 > 0:44:07to bring Shakespeare to mainstream cinema audiences.
0:44:09 > 0:44:10Beginning with Henry V,
0:44:10 > 0:44:15he opened his version not in an Elizabethan theatre,
0:44:15 > 0:44:16but in a film studio.
0:44:17 > 0:44:20A kingdom for a stage,
0:44:20 > 0:44:22princes to act.
0:44:23 > 0:44:26And monarchs to behold the swelling scene!
0:44:28 > 0:44:33By playing Henry, Branagh evoked a direct historical comparison
0:44:33 > 0:44:35with Olivier's heroic performance,
0:44:35 > 0:44:37but made the role his own.
0:44:38 > 0:44:40Olivier talked about the whole process
0:44:40 > 0:44:41of soliloquies in Shakespeare,
0:44:41 > 0:44:45he believed that by the time you've reached the climax of a speech,
0:44:45 > 0:44:47that you had to be further away from the actor,
0:44:47 > 0:44:50because he believed the film medium couldn't take the degree of passion
0:44:50 > 0:44:53that often accompanied the climax of a great Shakespearean aria
0:44:53 > 0:44:55and I sort of believe the opposite.
0:44:55 > 0:44:58I see you stand like greyhounds in the slips,
0:44:58 > 0:44:59Straining upon the start.
0:44:59 > 0:45:00The game's afoot.
0:45:00 > 0:45:03Follow your spirit, and upon this charge
0:45:03 > 0:45:11Cry, "God for Harry, England, and St George!"
0:45:11 > 0:45:15- SOLDIERS:- "Harry, England, and St George!"
0:45:15 > 0:45:20'Shakespeare films of late have been pretty bold with Shakespeare.'
0:45:20 > 0:45:22We've come such a long way in the development of cinema
0:45:22 > 0:45:25that there are so many interesting ways to do that,
0:45:25 > 0:45:26ways to match images with words
0:45:26 > 0:45:29that it becomes almost like new territory,
0:45:29 > 0:45:31it's as if with this 400-year-old play,
0:45:31 > 0:45:34you can approach it as if it was a completely new script.
0:45:37 > 0:45:42The Taviani brothers brought the political insights of Julius Caesar
0:45:42 > 0:45:45up-to-date by enacting the drama in a prison.
0:45:45 > 0:45:50The cast was mostly real-life mafia convicts.
0:45:50 > 0:45:52TRANSLATED FROM ITALIAN:
0:46:39 > 0:46:42It's no surprise that of all Shakespeare's plays,
0:46:42 > 0:46:44the endlessly enigmatic Hamlet
0:46:44 > 0:46:47is the most filmed around the world
0:46:47 > 0:46:49and the one that has provoked the most various,
0:46:49 > 0:46:52not to say outlandish, interpretations.
0:46:57 > 0:46:59TRANSLATION FROM ITALIAN:
0:47:02 > 0:47:04In an Italian Western version,
0:47:04 > 0:47:07Gerty is surprised by the return of her son,
0:47:07 > 0:47:08Johnny Hamlet.
0:47:36 > 0:47:40In the Chinese martial arts film The Banquet,
0:47:40 > 0:47:44the dumbshow revealing how Claudius murdered Hamlet's father
0:47:44 > 0:47:47is staged as a lavish eastern pantomime.
0:47:50 > 0:47:53SPARSE, RHYTHMIC DRUMMING
0:48:12 > 0:48:16Aki Kaurismaki's off-beat Finnish sensibility
0:48:16 > 0:48:18turns Hamlet into a noir comedy.
0:48:18 > 0:48:20TRANSLATED FROM FINNISH:
0:48:29 > 0:48:30LIGHT THUMP
0:49:01 > 0:49:06In India, Vishal Bhardwaj has made Bollywood crime movies
0:49:06 > 0:49:07out of three tragedies -
0:49:07 > 0:49:11Macbeth, Othello and Hamlet,
0:49:11 > 0:49:13which became Haider.
0:49:13 > 0:49:16His Hamlet is a revolutionary in Kashmir,
0:49:16 > 0:49:20putting a very political twist on the prince's famous soliloquy.
0:49:49 > 0:49:51Hamlet's complexity is in contrast
0:49:51 > 0:49:56to the simplicity of cinema's second-favourite Shakespeare play.
0:49:56 > 0:49:59INDIAN MUSIC
0:49:59 > 0:50:02Romeo And Juliet, with its story of star-crossed lovers
0:50:02 > 0:50:06from feuding families has been given the lavish Bollywood treatment.
0:50:35 > 0:50:37The Romeo And Juliet story lends itself readily
0:50:37 > 0:50:40to innumerable cultural settings and genres.
0:50:44 > 0:50:48It was the basis for one of the greatest of American musicals,
0:50:48 > 0:50:50set in 1950s New York.
0:50:52 > 0:50:54# Tonight, tonight
0:50:54 > 0:50:57# It all began tonight
0:50:57 > 0:51:03# I saw you and the world went away
0:51:03 > 0:51:06# Tonight, tonight
0:51:06 > 0:51:08# There's only you tonight
0:51:08 > 0:51:13# What you are, what you do, what you say... #
0:51:13 > 0:51:16That myth, that story of Romeo And Juliet,
0:51:16 > 0:51:19of two kids who fall in love, but their adult world says,
0:51:19 > 0:51:22"You can't love that person because of their name,"
0:51:22 > 0:51:25or, "You can't love that person because of their skin colour,"
0:51:25 > 0:51:27"You can't love that person because of their sexuality
0:51:27 > 0:51:31"or their religion," that idea is something that touches us all,
0:51:31 > 0:51:34particularly touches young people, because to be told who they can
0:51:34 > 0:51:38and cannot love is something they find very hard to compute.
0:51:38 > 0:51:42"Why would that be? Why is it wrong to love someone?"
0:51:42 > 0:51:45MUSIC: I'm Kissing You by Des'ree
0:51:49 > 0:51:55Baz Luhrmann reinvented Romeo And Juliet for the 1990s.
0:51:55 > 0:51:59He set the story in a visually dazzling Miami.
0:51:59 > 0:52:02His gangland is a place populated by the young,
0:52:02 > 0:52:06where glamorous leads Leonardo DiCaprio and Claire Danes
0:52:06 > 0:52:09play out the tragic fate of the teenage lovers.
0:52:13 > 0:52:16The film is a cinematic tour de force.
0:52:16 > 0:52:18TYRES SCREECH, MAN YELLS
0:52:18 > 0:52:22It's authentically anchored by Luhrmann's bold choice
0:52:22 > 0:52:25to retain Shakespeare's text as the dialogue.
0:52:25 > 0:52:27Go forth! I will back thee!
0:52:28 > 0:52:30Do you bite your thumb at us, sir?
0:52:30 > 0:52:31I-I do bite my thumb, sir.
0:52:31 > 0:52:34Do you bite your thumb at us, sir?
0:52:34 > 0:52:37- Is the law of our side, if I say ay?- No!
0:52:37 > 0:52:40No, sir, I do not bite my thumb at you, sir, but I bite my thumb, sir.
0:52:40 > 0:52:43- Do you quarrel, sir? - Quarrel, sir! No, sir.
0:52:43 > 0:52:46But if you do, sir, I am for you: I serve as good a man as you.
0:52:46 > 0:52:48- No better? - SAMPSON STAMMERS
0:52:48 > 0:52:50Here comes our kinsman - say "better"!
0:52:50 > 0:52:52- Yes, better, sir.- You lie!
0:52:52 > 0:52:54- GUN COCKS - Draw, if you be men.
0:52:54 > 0:52:56WOMEN SCREAM
0:52:58 > 0:53:00Part, fools! You know not what you do.
0:53:03 > 0:53:06That came directly from our analysis of the Elizabethan stage.
0:53:06 > 0:53:10In the text, Shakespeare had stand-up comedy one minute,
0:53:10 > 0:53:12comedians going, "Do you bite your thumb at me, sir?"
0:53:12 > 0:53:16Then a pop song. He'd stick a popular song in.
0:53:16 > 0:53:18Then you'd have high tragedy,
0:53:18 > 0:53:20the lowest comedy, all mixed up together.
0:53:20 > 0:53:24That mixing up of things, because he was trying to entertain,
0:53:24 > 0:53:26is Elizabethan, is Shakespearean,
0:53:26 > 0:53:30it's not necessarily MTV, although MTV does use some of those devices,
0:53:30 > 0:53:33so it came directly from Shakespeare,
0:53:33 > 0:53:36that idea of kind of rough, relentless, irreverent,
0:53:36 > 0:53:38but damned entertaining.
0:53:40 > 0:53:45Shakespeare's final testament, The Tempest,
0:53:45 > 0:53:49is a supernatural tale of reconciliation and hope.
0:53:51 > 0:53:55Its central character, Prospero, is a great magician.
0:53:55 > 0:53:59At the end of the play, he bids farewell to his powers
0:53:59 > 0:54:01as Shakespeare did to his art.
0:54:01 > 0:54:03It would be his last great work.
0:54:09 > 0:54:13This silent, British-made version of The Tempest begins
0:54:13 > 0:54:17with Prospero demonstrating his powers to his daughter, Miranda,
0:54:17 > 0:54:20raising a storm that will bring to their island
0:54:20 > 0:54:21the survivors of a shipwreck.
0:54:26 > 0:54:30The play has consistently attracted the more adventurous
0:54:30 > 0:54:31and experimental film makers.
0:54:37 > 0:54:39- ANXIOUS WHISPERING: - ..my wife and children...
0:54:39 > 0:54:43Working with a minimal budget, the artist Derek Jarman
0:54:43 > 0:54:46brought a late-'70s punk aesthetic to the play.
0:54:47 > 0:54:52He created potent images with simple means, such as tinted stock footage.
0:54:54 > 0:54:57PANICKED GASPING AND WHISPERING
0:55:03 > 0:55:05In contrast,
0:55:05 > 0:55:10Peter Greenaway played with all the tools of multimedia technology.
0:55:10 > 0:55:13John Gielgud gave a bravura performance as Prospero,
0:55:13 > 0:55:17speaking all the roles as though he were himself Shakespeare.
0:55:19 > 0:55:22- What, must our mouths be cold? - Boatswain...
0:55:22 > 0:55:27LINES OF DIALOGUE RAPIDLY OVERLAP
0:55:35 > 0:55:38PROSPERA ROARS
0:55:44 > 0:55:49And Julie Taymor broke with convention by casting Helen Mirren
0:55:49 > 0:55:50as Prospera.
0:55:51 > 0:55:54If by your art, my dearest mother, you have
0:55:54 > 0:55:57Put the wild waters in this roar, allay them.
0:55:57 > 0:55:59Oh, I have suffered
0:55:59 > 0:56:01With those that I saw suffer.
0:56:01 > 0:56:02A brave vessel
0:56:02 > 0:56:05Who had, no doubt, some noble creature in her
0:56:05 > 0:56:07Dashed all to pieces.
0:56:08 > 0:56:11Poor souls, they perished.
0:56:15 > 0:56:18THUNDER RUMBLES
0:56:20 > 0:56:23Be collected.
0:56:23 > 0:56:24No more amazement.
0:56:25 > 0:56:27Tell thy piteous heart
0:56:27 > 0:56:28There's no harm done.
0:56:28 > 0:56:31- Oh, woe the day!- No harm.
0:56:34 > 0:56:35Our revels now are ended.
0:56:37 > 0:56:38These our actors,
0:56:38 > 0:56:41As I foretold you, were all spirits and
0:56:41 > 0:56:45Are melted into air, into thin air:
0:56:46 > 0:56:50And, like the baseless fabric of this vision,
0:56:50 > 0:56:54The cloud-capp'd towers, the gorgeous palaces,
0:56:54 > 0:56:58The solemn temples, the great globe itself,
0:56:58 > 0:57:04Yea, all which it inherit, shall dissolve
0:57:04 > 0:57:08And, like this insubstantial pageant faded,
0:57:08 > 0:57:10Leave not a rack behind.
0:57:13 > 0:57:14We are such stuff
0:57:14 > 0:57:18As dreams are made on,
0:57:18 > 0:57:20and our little life
0:57:20 > 0:57:23Is rounded with a sleep.
0:57:38 > 0:57:41Through the movies, Shakespeare's work takes us boldly
0:57:41 > 0:57:44where no great playwright has gone before.
0:57:46 > 0:57:48The writers of Star Trek
0:57:48 > 0:57:51have frequently mined Shakespeare's works,
0:57:51 > 0:57:55suggesting that he is the central poet and storyteller,
0:57:55 > 0:57:57not just of our globe,
0:57:57 > 0:57:59but of the universe.
0:58:02 > 0:58:04I offer a toast.
0:58:04 > 0:58:06The undiscovered country.
0:58:10 > 0:58:11The future.
0:58:11 > 0:58:13GUESTS RESPOND IN VARIOUS LANGUAGES
0:58:13 > 0:58:15Hamlet, Act III, Scene I.
0:58:15 > 0:58:17You've not experienced Shakespeare
0:58:17 > 0:58:19until you have read him in the original Klingon.
0:58:21 > 0:58:24HE SPEAKS KLINGON
0:58:24 > 0:58:27KLINGONS CHUCKLE
0:58:27 > 0:58:30# With the wife of the British ambessida
0:58:30 > 0:58:33# Try a crack out of Troilus And Cressida
0:58:33 > 0:58:36# If she says she won't buy it or tike it
0:58:36 > 0:58:39# Make her tike it, what's more As You Like It
0:58:39 > 0:58:42# If she says your behaviour is heinous
0:58:42 > 0:58:46# Kick her right in the Coriolanus
0:58:46 > 0:58:49# Brush up your Shakespeare
0:58:49 > 0:58:52# And they'll all kow-tow
0:58:52 > 0:58:55# Thinkst thou? And they'll all kow-tow
0:58:55 > 0:58:59# Odds bodkins, all kow-tow. #