The final episode of The Hollow Crown charts the reign of Henry V and in particular, his rise to become a warrior king, accepting the challenge to invade France with the scene set for a crucial battle on a field in Agincourt.
King Henry (Tom Hiddleston), now sporting a rather impressive goatee and a kingly codpiece (I wasn't actively looking, it was just very obvious), is reigning over a more peaceful England. That is until the French ambassador shows up with the challenge from the Dauphin to test his mettle against the French forces. Never one to back down from a fight, Henry accepts the gauntlet, deftly avoiding an assassination attempt and assembling an invading force from across England with the encouragement of Exeter (Anton Lesser) and York (Paterson Joseph). The scene is set for one of the most famous confrontations ever and as the two armies close in on the fields of Agincourt, Henry must prove that he is worthy to wear the English crown.
The character arc for Henry, going from Prince Hal to the King of England over the course of three plays, has been one of the highlights of The Hollow Crown with assured performances from Tom Hiddleston charting each stage of the character's progression. His first appearance in the episode, riding across the fields before hurrying into the throne room, demonstrate that he's still the same man who enjoyed partaking in a pint or two at the tavern but has now accepted his responsibilities as King. Keen to prove himself, the challenge from the French ambassador allows him to do so and his acceptance was a great point of entry into the most war-ridden plays of the Henriad. Whilst it's not quite a 'This is Sparta' moment, Henry's message to the Dauphin's ambassador is very clear; he's on his way and he's bringing a lot of friends with him.
Famously, Shakespeare knew of the problems of presenting a play set mostly at war in France whilst having very little scenery to convey this setting so he created the role of the Chorus, a character whose sole purpose was to aid the audience in their imagination. Naturally a television programme has considerably more resources than an Elizabethan theatre but the decision to include the Chorus as a narrator in the guise of John Hurt's raspy tones proves inspired. The narration adds to the cinematic feel the series has worked hard to create and adds an increasing sense of familiarity to the proceedings. After all, Henry is a character we have followed since his youth and becomes someone you feel you know and could fight alongside, evident within the narrative itself; Henry spends half of his time conversing with the men around him, regardless of whether he is low or high-born.
This continues when we get to the actual war scenes, some of the most well-known in literature, the drama and pace is continued but with the emphasis placed on Henry as a king of the people (as practised with Falstaff in Mistress Quickly's tavern). The 'Once more unto the breach' scene is a particular highlight and rather than the usual posturing adopted for a rallying speech that has been seen in the likes of 300 and Troy, director Thea Sharrock adopts a more intimate approach. Henry is on the ground with his men rather than sat astride his horse, speaking to each one of them in turn and the speech becomes more than just a soundbite to later be termed 'epic'. The St. Crispin's Day speech, a bastion of English Literature, is similarly understated yet just as powerful, rousing and inspiring without descending into over-dramatic shouting. Hiddleston delivers both as measured, well-thought out addresses and with a gravitas that suits the King of England on a battefield. This king is very much one of the people, a link back to his earlier days as an honourary resident of East Cheap and the loyalty he inspires is easily seen in these moments.
The Battle of Agincourt itself is a thrilling piece of television, well-befitting of one of the most famous battles in English history. From the overwhelming odds stacked against the invading forces to the bloodiness of the battle itself, the audience is allowed to get up close and personal to the fighting, making it the best battle sequence in the whole of The Hollow Crown. Shakespeare did not shy away from presenting the negative aspects of the battle either, namely Henry's decision to execute the French prisoners they had taken and neither does Sharrock, showing the scene in all its cold brutality. It adds to Henry's character, given him a multi-dimensional quality; he's not just a hero to be glorified but also a man who makes rash decisions and mistakes as a result.
Additionally, we also see that Henry's romantic side as he must secure the hand of the French princess. Yes, this episode isn't all manly blood and guts, we even get some romance in the mix with a lovely scene between the King and his future bride, Princess Katherine. One of the best scenes in the play, the couple have to navigate the language barrier between them, offering Hiddleston a chance to show his romantic lead potential with the kind of bumbling attempt at wooing that Hugh Grant would be proud of. This scene, also thanks to an adorable turn from Melanie Thierry as Katherine, provides a peaceful and (mostly) happy ending to a character that we've seen develop over the course of the series. The decision to include Henry's funeral as the final scene provides a bittersweet note to the finale. It returns the series full circle to its themes of inheritance and the weighty responsibility of kingship, leaving the throne to Henry's infant son and I'm not ashamed to admit, I shed a tear or two during the Chorus' final speech.
The Hollow Crown has been a triumph from start to finish and Saturday nights are going to be poorer now that it has all finished. Well-edited and beautifully presented, this is Shakespeare as it should be experienced in all its muddy, bloody and drunken glory. From the tumultuous reign of Richard II, through the family dramas of Henry IV and the final, climactic battles of Henry V, each episode has brought its own themes and classic moments to the fore with fantastic performances from every single cast member. I cannot praise it enough and, if you haven't caught it or missed an episode, I urge to go and watch it all because it could be a while before we see Shakespeare done in such a fantastic and enjoyable way for some time.
- Becky
You can read Becky's review of The Hollow Crown - Henry IV Part Two here
You can find more of Becky's writings here http://beckygracelea.blogspot.com or follow her on Twitter @beckygracelea
The third episode of The Hollow Crown and the second part of Henry IV follows the aftermath of the Battle of Shrewsbury, the decaying relationship between Prince Hal and Falstaff and the King dealing with the rebellions which continue to flourish in an uneasy England.
Lord Northumberland learns of Harry Hotspur's death and flees to Scotland for safety. The Archbishop of York plots another rebellion against Henry IV who is weakening after the toll of the battle. Hal is still torn between his old life and his new role as the heir apparent and has to come to terms with the fact that he soon might be King. Meanwhile, Falstaff is being chased by the Lord Justice, determined to keep him away from corrupting the young prince once again, but Falstaff is confident in Hal's love for him, believing that once Hal is King, he will bestow Royal offices upon his portly friend.
While still possessing the bawdy comedy and the slapstick of the first part of Henry IV, Part Two is a much more serious piece of work, dealing with the complications of growing up and accepting your responsibilities. The journey here is Prince Hal's, begun in Part One, but reaching its destination in Part Two as he cements his position as the honourable heir apparent and shedding the rebellious youth who we saw in the previous play. Tom Hiddleston, reliable as ever, manages to avoid falling into the trap of playing the two as very different halves of the same person, but instead gives us a nuanced performance that captures the development of Hal. The cheeky prankster is still there but is measured by his realisation that shedding Falstaff and the other residents of East Cheep is the way to go. The coronation scene in which Hal finally banishes Falstaff from his life and the country was emotional, both in terms of seeing finally become King Henry V but also the act of banishment itself. Simon Russell Beale has portrayed one of Shakespeare's most famous characters with a great balance of both the comic and tragic elements that Falstaff possesses.
As always with Shakespeare, a lot of the very important character developments are shown through the use of soliloquy and the two most powerful scenes in this episode were those given over to Henry and Hal as they contemplate the effects of kingship, for as Henry mournfully observes, 'uneasy lies the head that wears the crown'. Both Jeremy Irons and Hiddleston capture your attention in their separate moments and the setting of both scenes in the throne room really develop the sense of the inevitablity of kingship. Hal is very aware that his father's death is necessary for him to become King and the internal conflict of this was well-pitched and enhanced the emotional weight of the scene. The focus isn't all on the kingly pair though with Hal's younger brother John also getting a look in on the action. His takedown of the rebellion alongside Westmoreland was a properly triumphant moment and whilst not entirely honourable, it was a well-handled bait-and-switch for both the audience and the doomed rebels.
The episode's shortcomings are few but can probably be traced back to the play itself. Nowhere near as famous as the plays that come before or after, it is also not as strong structurally or dramatically. The few standout scenes I've mentioned are just that, exceptional pieces of theatre that provide great moments for actors and audiences alike. However, those in between lack some of the punch of the other moments. Whilst the farcical chase between the Lord Justice and Falstaff culminating in all out street brawl would probably work very well on stage, on screen it felt out of place with the more sombre tone that Part Two took. I'm well aware of the necessity to further separate the characters of Hal and Falstaff, but the jumps in tone sometimes felt a little jarring. That being said, I would watch Julie Walters in anything and her take on the beleaguered Mistress Quickly was one of the highlights of both plays.
The Hollow Crown is one impressive piece of television and I'm already eagerly awaiting the next instalment. Whilst Part Two didn't quite match up to the dizzying heights set by the truly brilliant Henry IV Part One, it held its own for the most part and gave Irons, Hiddleston and Beale plenty of moments to shine. Next week, we get to see Hal as Henry V in all his St. Crispin's Day glory and I'm already feeling just that little bit more patriotic.
- Becky
You can read both Becky's and Jen's reviews for Henry IV Part One here and here.
Or follow Becky on Twitter @beckygracelea
The Hollow Crown continues this week with Henry IV Part One, the second in the tetralogy of history plays and a personal favourite of both of us here at Assorted Buffery. With Richard II establishing Henry Bolingbroke as King, Shakespeare moves into showing the events of his troubled reign.
Henry IV Part One follows the rise of Prince Hal (Tom Hiddleston) from drunken reprobate to warrior heir apparent after his father, King Henry (Jeremy Irons) faces an uprising from the Welsh rebel, Owen Glendower (Robert Pugh) and Harry Hotspur (Joe Armstrong). Beginning in East Cheap with Poins, Shakespearian Unsung Hero Number 10 (David Dawson), Mistress Quickly (Julie Walters) and the excessive drinker and cowardly storyteller, John Falstaff (Simon Russell Beale), Hal must grow up from playing pranks to leading his father's army and, as this is Shakespeare, we get tragedy, fearsome confrontations and more than your usual amount of debauchery.
As with Richard II, the action flits between several places as the play follows the King, his son and the rebellious Hotspur throughout, but unlike the previous episode, the cuts in between felt a lot more measured and well-judged. The tavern scenes in particular were a highlight, providing much of the comedy as Hal and Poins humiliate Falstaff repeatedly for no particular reason other than that they can. The battle scenes towards the end of the play did betray the episode's budget somewhat as, rather than being treated to extensive armies a la Lord of the Rings, we got close-ups of twenty men crammed into a shot to make it look like there's a lot. Thankfully, it didn't detract too much from the drama itself as once the fighting started, the frenetic battling was enough to hold your attention. My only complaint was that they didn't include the hilarious scenes in which Hotspur's ally, the Douglas, marches round the battlefield attempting to kill the King, only to repeatedly discover he's just killed another man dressed like the King. However, when you've got Falstaff bumbling through the battle trying not to die, the laughs were still there to be had.
It's safe to say that there is not one bad performance in this entire episode. The minor characters, particularly those in the tavern, provide a great background for the central figures to shine, supporting them well. Even Maxine Peake managed to steal a scene without saying more than one or two lines. Simon Russell Beale's Falstaff was every inch the drunken, bombastic figure that we all know and love, combining the comic and tragic inherent in the character well, especially in the scene in which he is 'playing' Hal. His plea to not leave Falstaff behind was heartbreaking, a man desperate to cling on to what little vicarious glory he has left. As the wilful and aptly-named Hotspur, Joe Armstrong was a forceful presence and never resorted to simply playing the villain. Hotspur in the play provides an opposite character arc to Hal, beginning as noble and honourable before falling too far from grace to be truly redeemed and Armstrong captured his inner conflict perfectly. Michelle Dockery, as his wife Kate, provided a great foil to her husband with excellent chemistry between the pair showing a fiery marriage based on a mutual respect, adding to the tragedy of the play's outcome.
But Part One belonged very much to Jeremy Irons and Tom Hiddleston as the central father and son who begin in conflict but end united. Hiddleston's star is firmly in the ascendancy after fantastic performances in big blockbusters like Avengers Assemble, but here he proves he can play the conflicted hero too. In the afore-mentioned play scene in the tavern, the moment in which he realises that he must re-take his place at the heir apparent was excellently pitched with just the loss of a smile to convey a key character development. Also, his impression of Jeremy Irons was brilliant, spot-on in everything from intonation to posture, providing extra comedy to an already funny scene. Irons' acting talent has long been something to be reckoned with and their confrontation scene was a masterclass to watch. As a king struggling to hold on to a legacy that was never his to begin with, Irons lets the conflicted emotions come to the forefront, the guilt at his own situation and the rage towards his son filling every single line.
My expectations were particularly high as it is the play I've been most looking forward to seeing adapted, but Henry IV Part One more than surpassed them, offering all of the themes that make the play so compelling. Next week, we're into the sequel, Henry IV Part Two, as we see a father and son united and Hal moves further away from Falstaff to his destiny as the future King of England.
- Becky
You can read Becky's review of The Hollow Crown - Richard II here.
As you may have gathered, here at Assorted Buffery, we're more than a little enthusiastic about anything in the arts and we're even more enthusiastic about Shakespeare. So you can probably imagine our reaction when we discovered the BBC were adapting Shakespeare's second history tetralogy (Richard II, Henry IV Parts One and Two, Henry V) under the title of The Hollow Crown. Now I can't speak for Jen, but I was positively giddy.
First, a confession; Richard II is one of the few Shakespeare plays that I have neither seen nor read so I'm taking a lot on faith that the BBC have adapted the text well for the screen and will only be assessing its merit as a television programme (I'll be much more on it when we get to the Henrys IV and V). The BBC has always excelled in its Shakespeare adaptations and this is no exception; lavish, dramatic and full of scene-stealing British actors. Kicking off the series, Richard II follows the exploits of the titular royal (Ben Whishaw) who seizes the lands and money of John of Gaunt (Patrick Stewart) after his death and provokes his exiled son, Henry Bolingbroke (Rory Kinnear) to rise up against him. Also starring David Suchet, Tom Hughes, Tom Goodman-Hill, James Purefoy, David Morrissey, Lindsey Duncan and Clémence Poésy, it's a veritable Who's Who of established and rising acting talent and follows the courtly intrigues that lead into a battle for the crown.
Ben Whishaw gives us a great central performance as King Richard, who Shakespeare sees as responsible for the War of the Roses. Never quite sure of where he's going next, Whishaw gives Richard a slightly terrifying edge; he refuses to listen to advice and changes his mind faster than the unpredictable British weather. He's not a particularly good king, more concerned with preening about in the latest swishy cape than with where the money's coming from and Whishaw's constant haughtiness captures this perfectly. His final monologue on his fall from grace is truly haunting, inspiring sympathy for a man broken by his inability to rule. Rory Kinnear gives a strong and more stable performance for Bolingbroke, the moral centre of the play who fights for England rather than himself, ably assisted by Suchet and Morrissey as his supporters. John of Gaunt is a relatively small role, a Shakespearian cameo if you will, but I defy anyone not to feel even a little patriotic when he gives his 'This England' speech, especially when delivered in Patrick Stewart's dulcet tones.
In terms of playing to its audience, the theme of patriotism throughout the episode ties in well with the current outburst of country loyalty we've been seeing this year thanks to the Jubilee and the Olympics (as I write this, I can hear the crowds in my flat as the Olympic Torch is passing through Leamington Spa). Various characters speak of the glory of England, but like the crown itself, it sounds hollow and false, because elsewhere we're being told what a dire state the country is in. The poor are exploited by the rich who just line their pockets and get richer - Richard's domain is an England that has fallen from grace, is rigid in its social categories of rich and poor and is on the brink of collapse. Shakespeare has long been known for providing a commentary for a wide of variety of social situations but I can't be alone in thinking that the England of Richard II bears a more than passing resemblance to our own.
Part of the problem with Richard II though is, for me at least, it does feel very much like a prequel, setting up the events for the considerably more action-packed Henry plays. You see the early seeds of the conflict with the Welsh, Bolingbroke as King and an England that stands on the brink of civil war but we move around too much to really focus on what's happening now, rather than in the future. Cutting from the coast, to Lancaster, to Wales all very quickly but Richard is at its strongest when you stay in one place for a considerable amount of time. A standout scene is one in which Richard holds a council on the beach where the sense of his own potential defeat permeates the atmosphere, contrasting greatly with the sun that beams down on the actors.
That being said, Richard II is still miles better than half of the stuff currently on television and The Hollow Crown is a fantastically ambitious project that I am eager to see to the end. Next week is Henry IV Part One, which is one of my favourite plays, and next Saturday night, I have most definitely got a date with oh-so-dashing Prince Hal (Tom Hiddleston). Oh if only that were true.
- Becky
Famously, Shakespeare knew of the problems of presenting a play set mostly at war in France whilst having very little scenery to convey this setting so he created the role of the Chorus, a character whose sole purpose was to aid the audience in their imagination. Naturally a television programme has considerably more resources than an Elizabethan theatre but the decision to include the Chorus as a narrator in the guise of John Hurt's raspy tones proves inspired. The narration adds to the cinematic feel the series has worked hard to create and adds an increasing sense of familiarity to the proceedings. After all, Henry is a character we have followed since his youth and becomes someone you feel you know and could fight alongside, evident within the narrative itself; Henry spends half of his time conversing with the men around him, regardless of whether he is low or high-born.
