As was said in my review for the 1963 production of the Britten version, John Gay's ballad/satirical opera 'The Beggar's Opera' is a lot of fun and it is no wonder it's popular with most, the dialogue, music and characters are all great. Benjamin Britten's radically different but enormously enjoyable and melodious, an ingenious and often brilliant modern re-imagining that shows the composer's individual treatment of folk-songs, version is also well worth it as well.
This 1953 film may not be completely ideal, but it is still intriguing and entertaining with a good deal to like. Occasionally, some of the dialogue loses impact when director Peter Brook tries to open up the action. While there are wonderful, imaginative visuals, Brook's directorial inexperience shows with some of the drama a bit undistinguished and stagy.
However, 'The Beggar's Opera' (1953) is a very handsome-looking film, with stylish production and costume design and some imaginative photography that succeeds in opening up the action. The music is a superb mix of rousing fun and heartfelt nuance. Most of the dialogue crackles with sharp wit and avoids being too wordy.
Most of the story absorbs and is lively in pacing, with the action being just about easy to follow and the twist is well executed.
Laurence Olivier may not have the best singing voice there is, but has charismatic swagger and energy aplenty. Hugh Griffith, Dorothy Tutin, George Devine and Stanley Holloway give him strong support.
All in all, intriguing and entertaining if not the most ideal version. 7/10 Bethany Cox
This 1953 film may not be completely ideal, but it is still intriguing and entertaining with a good deal to like. Occasionally, some of the dialogue loses impact when director Peter Brook tries to open up the action. While there are wonderful, imaginative visuals, Brook's directorial inexperience shows with some of the drama a bit undistinguished and stagy.
However, 'The Beggar's Opera' (1953) is a very handsome-looking film, with stylish production and costume design and some imaginative photography that succeeds in opening up the action. The music is a superb mix of rousing fun and heartfelt nuance. Most of the dialogue crackles with sharp wit and avoids being too wordy.
Most of the story absorbs and is lively in pacing, with the action being just about easy to follow and the twist is well executed.
Laurence Olivier may not have the best singing voice there is, but has charismatic swagger and energy aplenty. Hugh Griffith, Dorothy Tutin, George Devine and Stanley Holloway give him strong support.
All in all, intriguing and entertaining if not the most ideal version. 7/10 Bethany Cox