I won't belabor the point that you can gather from reading 40+ other reviews, so I will offer a few short words on the theme of the movie, as well as caveat, for watching Orson Welles' Chimes at Midnight.
The film overall deals with that time-honored notion noted by St. Paul "When I was a child, I used to talk like a child, and see things as a child does, and think like a child; but now that I have become an adult, I have finished with all childish ways." Prince Hal is growing up and becoming an adult, and as such must soon leave his childish pranks and habits behind. His friend, Falstaff, is that childhood friend (paradoxically old in age, as if he never grew up himself). Boisterous, drunk, and a glutton, the blowhard gleefully recounts all the good times that he, Prince Hal, and their other misfits used to have, doing the things that children and adolescents do, like being a nuisance, harassing others, and goofing off. It is the type of life Falstaff still leads and he is quite happy with it. Prince Hal is, too, until the weight of responsibility is slowly thrust upon him thanks to his sick father. As the stakes are raised, he slowly loses the time and desire to be a silly young boy and now must be a man.
Falstaff is oblivious to this development all the way until the end, thinking that these are just momentary phases before the parties can begin anew. He is ever hopeful that the Prince and the world will see things his way. He fails to see how the world moves past a fat, blundering fool. His love for the prince, for the girls of the bawdy bar, for his compatriots is, while sometimes humorous and self-serving, he nonetheless wishes no real ill on anyone and merely lives for fun and pleasure. In his old age, he has decided that being an adult (if he ever was one) is not something worth putting time and energy in to. He is unimportant and carefree enough to have that luxury; however, his closest friends cannot shirk away from their duties as men, and thus Falstaff fails to realize how he is left behind.
All of this is turned into a moving portrait. We realize that Falstaff is wrong, and that sometimes the world calls for more than just joking around, goofing off and indulging one's self. But we sympathize with him, because we can see a gentle and loving person underneath the bluster and idiocy - and perhaps we ourselves wish the world were more "childish" and carefree. At the climactic battle scene (were Welles' camera work makes a hundred men or less look like a thousand), men grind and pulverize each other into hamburger meat - but Falstaff never manages to hurt a single soul. Perhaps there is some good in being childish!
For those wishing to watch the movie, the Criterion package is an excellent one. The customary supplemental materials are fascinating, and the picture brings out Welles' cinematography. Criterion and co. did there best with the sound, and the sound is the biggest single issue with which you will struggle with (or at least I did) with Chimes. Even with work done on it, the sound levels are inconsistent, especially with actors' lines. Sometimes whole scenes will go by with what sounds like dubbers mumbling their lines, straining your ears and making you crank the volume up on your TV. Then all of the sudden someone will speak loudly and clearly, blowing you back with the force of it and making you quickly turn the volume back down... only for the process to repeat again. I have not done this yet, but I would probably recommend watching with subtitles on to help alleviate the issue of figuring out what some of the whispers and mumbles are supposed to be. Not an elegant solution, but with Welles' later work, you will have to deal with some technical issue or another.
Don't let the above turn you off from seeing this beautiful, and moving film. It is a worthy adaptation and remix of Shakespeare and one of Welles' greatest movies.
The film overall deals with that time-honored notion noted by St. Paul "When I was a child, I used to talk like a child, and see things as a child does, and think like a child; but now that I have become an adult, I have finished with all childish ways." Prince Hal is growing up and becoming an adult, and as such must soon leave his childish pranks and habits behind. His friend, Falstaff, is that childhood friend (paradoxically old in age, as if he never grew up himself). Boisterous, drunk, and a glutton, the blowhard gleefully recounts all the good times that he, Prince Hal, and their other misfits used to have, doing the things that children and adolescents do, like being a nuisance, harassing others, and goofing off. It is the type of life Falstaff still leads and he is quite happy with it. Prince Hal is, too, until the weight of responsibility is slowly thrust upon him thanks to his sick father. As the stakes are raised, he slowly loses the time and desire to be a silly young boy and now must be a man.
Falstaff is oblivious to this development all the way until the end, thinking that these are just momentary phases before the parties can begin anew. He is ever hopeful that the Prince and the world will see things his way. He fails to see how the world moves past a fat, blundering fool. His love for the prince, for the girls of the bawdy bar, for his compatriots is, while sometimes humorous and self-serving, he nonetheless wishes no real ill on anyone and merely lives for fun and pleasure. In his old age, he has decided that being an adult (if he ever was one) is not something worth putting time and energy in to. He is unimportant and carefree enough to have that luxury; however, his closest friends cannot shirk away from their duties as men, and thus Falstaff fails to realize how he is left behind.
All of this is turned into a moving portrait. We realize that Falstaff is wrong, and that sometimes the world calls for more than just joking around, goofing off and indulging one's self. But we sympathize with him, because we can see a gentle and loving person underneath the bluster and idiocy - and perhaps we ourselves wish the world were more "childish" and carefree. At the climactic battle scene (were Welles' camera work makes a hundred men or less look like a thousand), men grind and pulverize each other into hamburger meat - but Falstaff never manages to hurt a single soul. Perhaps there is some good in being childish!
For those wishing to watch the movie, the Criterion package is an excellent one. The customary supplemental materials are fascinating, and the picture brings out Welles' cinematography. Criterion and co. did there best with the sound, and the sound is the biggest single issue with which you will struggle with (or at least I did) with Chimes. Even with work done on it, the sound levels are inconsistent, especially with actors' lines. Sometimes whole scenes will go by with what sounds like dubbers mumbling their lines, straining your ears and making you crank the volume up on your TV. Then all of the sudden someone will speak loudly and clearly, blowing you back with the force of it and making you quickly turn the volume back down... only for the process to repeat again. I have not done this yet, but I would probably recommend watching with subtitles on to help alleviate the issue of figuring out what some of the whispers and mumbles are supposed to be. Not an elegant solution, but with Welles' later work, you will have to deal with some technical issue or another.
Don't let the above turn you off from seeing this beautiful, and moving film. It is a worthy adaptation and remix of Shakespeare and one of Welles' greatest movies.