Henry V - Criterion Collection

Starring:Laurence Olivier
Director: Laurence Olivier
Studio: Criterion
Product Type: DVD

Amazon.com essential video

The Monterey International Pop Festival, the three-day event staged in 1967 that has become one of rock music's most famous and in some ways greatest concerts, gets the royal treatment with this three-disc boxed set.

Material on two of the three discs has already been widely available. Monterey Pop, D.A. Pennebaker's 79-minute, 1968 film, effectively sets the scene for the festival, which took place during the fabled "Summer of Love," when the hippie ethos was in its fullest flower, especially on the West Coast. And while not all the featured performances are thrilling, those that are--principally by the Who, Jimi Hendrix, and the amazing Ravi Shankar--are worth the price of admission, especially in the high-definition digital transfer and new 5.1 mix seen and heard here. The same can be said for Jimi Plays Monterey and Shake! Otis at Monterey, which appear in the boxed set on a separate disc and provide a much fuller look at Hendrix's and Otis Redding's incendiary sets (literally, in the former case).

Those two discs are also loaded with bonus features, including audio commentary by Pennebaker, festival producer Lou Adler (on Monterey Pop), and author Peter Guralnick (Shake!); audio-only remarks by some of the performers; photos; trailers; and other material. There's also a substantial booklet, filled with essays and photos. But it's the third disc, "The Outtake Performances," comprising some two hours of music that didn't make the final film edit, that will be of most interest to many viewers. The disc supplies a taste of some of the artists who didn't appear in Monterey Pop at all (the Byrds, Buffalo Springfield, Quicksilver Messenger Service), and a more complete look at some who did (the Who, Simon and Garfunkel, the Mamas and the Papas). A nice addition to an already very impressive DVD collection. --Sam Graham

Description

DISC ONE: "Monterey Pop" New high-definition digital transfer, supervised by D.A. Pennebaker. New 5.1 mix by legendary recording engineer Eddie Kramer, presented in Dolby Digital and DTS. Audio commentary by Festival producer Lou Adler and D.A. Pennebaker. New video interview with Lou Adler and D.A. Pennebaker. Audio interviews with Festival producer John Phillips, Festival publicist Derek Taylor, and performers Cass Elliot and David Crosby. Photo essay by photographer Elaine Mayes. Original theatrical trailer. Orginal theatrical radio spots. Monterey Pop scrapbook. Optimal image quality: RSDL dual-layer edition.

DISC TWO: "Jimi Plays Monterey" and "Shake! Otis at Monterey" New high-definition digital transfers, supervised by D.A. Pennebaker. New 5.1 mixes by legendary recording engineer Eddie Kramer, presented in Dolby Digital and DTS. Audio commentary on Jimi Plays Monterey by music critic and historian Charles Shaar Murray. Two audio commentaries on Shake! by music critic and historian Peter Guralnick: the first on Otis Redding's Monterey performance, song by song; the second on Redding before and after Monterey. Interview with Phil Walden, Otis Redding's manager from 1959 to 1967. Original theatrical trailer for Jimi Plays Monterey. Video excerpt: Pete Townshend on Monterey and Jimi Hendrix. Optimal image quality: RSDL dual-layer edition

DISC THREE: "Monterey Pop -- The Outtake Performance" Two hours of performances not included in the original film, from the following artists: Buffalo Springfield performing "For What It's Worth, " The Association, Big Brother and the Holding Company, The Blues Project, The Byrds, The Paul Butterfield Blues Band, Country Joe and the Fish, The Electric Flag, Jefferson Airplane, Al Kooper, The Mamas and the Papas, Laura Nyro, Quicksilver Messenger Service, Simon and Garfunkel, Tiny Tim, and The Who.

Customer Reviews:

The Complete Monterey Pop Festival.......2007-06-28

It was 1967, the Summer of Love and "Sergeant Pepper's," a charged moment when rock'n'roll was evolving in daring new directions, fueled by psychedelic drugs, the sexual revolution, and a new generation finding its voice. Documentarian D.A. Pennebaker covers the Monterey Pop Festival like a blanket in this feature-length concert film--the first ever--filming everything and everyone, while showcasing landmark performances by immortals Jimi Hendrix, Otis Redding, Janis Joplin, Jefferson Airplane, and The Who, among others.

Revelatory performances........2007-01-07

The film restoration work looks and sounds magnificent. Eddie Kramer gets extra congratulations on the 5.1 audio mix. That said, the 3rd disc is mainly in stereo only.

Karen's review below is a bit harsh. If you actually listen to the main film's commentary, you will understand why more footage isn't available: Not every second of 3 days of performances were captured. Concert films did not exist as a genre at this time (see the annoyingly choppy 'Festival!' documenting Newport), so this was new territory and the point of the film was to make a document that gave an overall feel for the event and time. Pennebaker and his crew had to decide which songs to film, which seems to have been predetermined by Dylan's buddy Bob Neuwirth who was more familiar with the scene than the filmmaker. They would turn on a red light on stage to signal to start filming the next song. At some times, they didn't have a plan and the camera men would shoot at their discretion, so some performances may have been captured by only 1 camera and therefore considered not presentable. Also, film reels would end during performances and need to be changed (approx every 20 minutes), hence footage missing from two of Jimi's songs.

Regarding the lack of more outtake footage:
1. Your precious Janis and Big Brother's new manager Albert Grossman didn't allow them to be filmed the first day, but finally they were asked to play again the next day because of the crowd reaction and the desire to get something on film. The whole set could exist but I doubt it. Grossman and his need for control is probably to blame, and it's no coincidence that Woodstock's filmmakers were also refused to use her footage in the original release. She only appears now in the directors cut.
2. The Byrds set is extremely historic, and that is one that should have been included in whole if it exists.
3. The Who's set is only missing 'Pictures of Lily' not counting 'My Generation' which is in the proper film. It is on bootleg Who dvd's so why that wasn't included is inexplicable. I would have like to have seen all footage from each artist's set put together on the bonus disc including the songs included in whole or in part in the actual final film, so that it's all in one place. What we get is anything besides what made the final cut.

4. As far as Tiny Tim, yes his impromptu performances are annoying, but they are part of just that, impromptu candid backstage footage supplied as bonus, not part of the 2 hours of bonus footage. So, skip past it like I did and get over it.

5. Regarding the Grateful Dead, a small glimpse is seen at the beginning of the 'Jimi Plays Monterey' film, but the liner notes from the 4CD box set from 1992 tells us, that like Janis, the band and or management refused to allow any audio or visuals to be used. I assume they didn't like their performance, or wanted to control it like the rest of their own vault. The whole festival was for charity, as we also learn from the supplementary interviews, and the artists therefore had to sign waivers releasing the rights to their performances. My guess it the Dead refused to comply.
6.The real shame is that there is no footage of Lou Rawls' electrifying set, which would also show more of the diversity of genre's that were at the festival.
7. Charles Shaar Murray's commentary during the Hendrix film is actually quite insightful and entertaining. Yes, there are some funny comments about substances and clothing. He wrote a definitive biography of Jimi, and his commentary is well founded and gives context to why his perfomance at the festival was revolutionary.

That said, this is a definitive package, and a must own release for a serious rock collector's library.

Not complete.......2006-12-10

I know i give this five stars and it is worth the high price, but complete. Not even close. Since i first heard about montery pop on some vh1 thing years ago ive been interested in monterey pop. The fact that it was the first real festival, besides newport, and in my opinion the best.
I originally bought the vhs tape, and then the hard to find 4 disc box set, and then this 3 disc dvd. I even have a bootleg of the grateful deads performance there. It would just be a lot cooler if it was actually complete. Its just kinda of a tease to see one buffalo sprinfield song when you know they most likely have their whole performance on tape.

Jimi Hendrix plays Wild Thing at Monterey Pop.......2006-10-15

Unforgeteable performance, that I first watched in a movie theater in 1975. The sound in big space is much different,you hear the crakles of fire in the guitar, and the acoustic couplings between guitar and Marshalls are richer in tremeloes and vibrations. May be the remastering for DVD filtered too much, but unless you own a superb stereo equipment, you better watch it as a movie!

Everything I wanted.......2006-08-15

I have been looking for the Hendrix concert footage for awhile. This is worth the full price alone.

Olivier's Shakespeare - Criterion Collection (Hamlet / Henry V / Richard III)

Average customer rating:

The very best!
THREE GREAT MOMENTS... OLIVIER... SHAKESPEARE... CRITERION...

Olivier's Shakespeare - Criterion Collection (Hamlet / Henry V / Richard III)
Starring: Olivier's Shakespear
Manufacturer: Criterion
ProductGroup: DVD
Binding: DVD

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King Lear
The Thames Shakespeare Collection: MacBeth/King Lear/Romeo & Juliet/Twelfth Night
Eric Rohmer's Six Moral Tales - Criterion Collection
Richard III
Macbeth / McKellen, Dench (Thames Shakespeare Collection)

ASIN: B000FILVO6
Release Date: 2006-08-01

Description

Dubbed the greatest actor of the twentieth century, Sir Laurence Olivier, the classically trained and majestically handsome English theater veteran, first transplanted his passion for Shakespeare to the big screen in the 1940s, and in so doing, allowed Elizabethan verse to break free of its stage-bound origins. Olivier directed only five films in his sixty-year career, yet his three Shakespeare adaptations (Henry V, Hamlet, Richard III), presented here together on DVD for the first time, are still widely considered the definitive film adaptations. Faithful to the playwright's words yet open to the unique possibilities of the cinema, these works transcend both screen and stage with timeless passion. Criterion is proud to present this unprecedented filmmaking legacy.

Customer Reviews:

The very best!.......2007-05-02

It is because of "Larry", I came to love and understand the great Bard, all through high school and college, I never could grasp and appreciate Shakespeare, until I came upon the master actor of possibly all time, I would say without fear of contradiction, his work will out live all others, as far as this set of disc's from Criterion, I am sure they just as good as the single one's I have in my collection, the price is a great savings from single purchase, I might add the having seen the great films, opening a book of Shakespeare was a wonderful "new' experience.

THREE GREAT MOMENTS... OLIVIER... SHAKESPEARE... CRITERION..........2006-08-23

Basically, these are three great Criterion Editions boxed together - which gives it a nice sense of continuity between these films.

HAMLET is, perhaps, Shakespeare most widely known and popular work. And Olivier gives it the film performance to which all others are compared. Period. And it is a great film with a striking cinematography and (naturaly) a great cast. A classic. Criterion, as always, does a fine job in terms of image and sound... although this disc has no extras.

RICHARD III tells the story of the evil duke of gloucester and his murderous machinations to get the throne of England. Another great performance. Great Technicolor cinematography. Here, Criterion gives us a two-disc edition full of nice extras: an Olivier interview, a featurette, etc.

HENRY V is another tour de force as the king who must battle all odds in order to achieve the greatest victory. The Agincourt battle scenes are a wow!!! Another Tecnicolor triumph.

So, here you have three great Shakespeare adaptation at a better price (you can buy the separately) by Criterion.

I say look no further.

Average customer rating:

Henry V (1944)
Unique
Sir Laurence Olivier. What Else Need Be Said?
Consider this film in the context of when it was made.
Sir Laurence Olivier's Mastery Of The Bard Is Absolute!!

Henry V - Criterion Collection
Starring: Laurence Olivier
Director: Laurence Olivier
Manufacturer: Criterion
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Henry V
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ASIN: 0780021320
Release Date: 1999-06-22

Amazon.com essential video

If Kenneth Branagh's 1989 version of Shakespeare's tale of conquering greed reflects the post-Vietnam era, Laurence Olivier's version very much mirrored his time. When Olivier gave us his colorful adaptation in 1945, it was vivid, full of pageantry, and most definitely geared toward war. Pretty flags and white steeds, shining armor and theatrical emphasis figure into Olivier's attractive but decorous version, liberally adapted for a pro-war stance. He used the French as comic relief; they appeared foppish and foolish. Their presence implied no threat. If you had not read the play, you would not have to wonder who was going to win. Of course, Olivier wanted England to believe in the justness of war--his country was in the midst of one. The propaganda gets in the way only because it has been filtered through so many decades. His Henry remains, however, a handsome cinematic spectacle. Olivier's performance is gentle and elegant, his imagery rich and colorful. It was considered such a superb film he was awarded an honorary Oscar. He followed this with adaptations of Hamlet and Richard III. --Rochelle O'Gorman

Description

Olivier mustered out of the navy to film this adaptation of Shakespeare's history. Embroiled in World War II, Britons took courage from this tale of a king who surmounts overwhelming odds and emerges victorious. This sumptuous Technicolor® rendering features a thrilling recreation of the battle of Agincourt, and Sir Laurence in his prime as director and actor.

Customer Reviews:

Henry V (1944).......2007-06-22

Olivier inhabits the role of Henry with dazzling gusto in this rousing, energetic adaptation of William Shakespeare's play. The world was at war in 1944, and the gifted actor/director hoped the Bard's climactic tale of beat-the-odds triumph would comfort and inspire embattled England. Filling shoes once meant for William Wyler, Olivier's direction of his actors and the Technicolor battle scenes is sharp and inspired (with help from editor Reginald Beck). The movie's stylized opening in a re-created Globe Theater eventually gives way to beautifully scenic realism, an ingenious blend of theater and cinema that helped win Olivier a special Oscar for "outstanding achievement."

Unique.......2006-07-16

I read the play "Henry V" earlier this year and found parts of it very stimulating and other parts somewhat distracting. I looked forward to see the Olivier film version but I was concerned that it might move along too quickly for me to follow. As I sat back to watch the movie on TCM, I was treated to some background on how the film was produced in England at the height of WWII where just about everything was in scarce supply. The many innovation that enabled the film to come off were impression as was the reminder that "Henry V" was an excellent choice for an audience challenged by the strife of war.

It was the very beginning of "Henry V" that impressed me the most. We view the play being presented at the Globe Theatre in Stratford on Avon and we view it as part of the rauscious audience. The positive effects of this vantage point are numerous; we get a better sense of the humor when the audience periodically breaks out in laughter, we get a better sense of how Shakespeare wrote in various scenes to enhance its' impact on the audiences of his day (which were NOT the tuxedo wearing crowd that dropped a bundle to see Shakepeare at an exclusive theater),but mostly, we see the players playing to the audience. The major problem with film versus on-stage production is the lack of interplay between audience and performers. The actors tend to ham it up more for the humorous scenes and tighten the emotion more for the serious scenes. Each side of the stage feeds on the output of the other and a well-produced play leaves all with a sense of a common-shared experience. Not so when acting before a camera and that is why I was so impressed with this approach.

Eventually the panorama of the battle field leads us away from the audience to the movie sets. I was grateful for the introduction about the play that prefaced the movie because I understood the backdrop to me more of an artistic expression than a cheap attempt to kid us that it was a real background. I suspect Olivier's approach to the play helped to raise the emotional level of the cast. The ability of a leader to command the respect and inspiration of his troops was a major part of the play and it came through very well in this movie version.

My one objection to the movie (and the play since this is how Skakepeare wrote it into the play) was the closing scenes. Maybe it was to woo that same audience that shows up again at the end by adding a romantic angle to the drama. However, I felt that "Henry V" was meant to end on the battle field of victory rather than the wedding chapel of a new alliance. I suspose Shakespeare added that out of concern about how it would play in Paris. Oh well, alls well that almost ends well (as well).

Sir Laurence Olivier. What Else Need Be Said?.......2006-07-14

Besides Sir Laurence Olivier of course, the best thing about this movie is that it alternates between appearing as real and as a play in the Globe Theatre. Only Sir Laurence Olivier could manage this so smoothly and convincingly. That said, it may help to understand what happened before Henry V. Henry IV usurped the crown from Richard II. (Henry IV is of course Henry V's father.) Well, the eventual Henry V had spent a lot of time with rogues Bardolph, Pistol, Nym, and Falstaff (whose death we see in the film). Well, Henry IV faced revolts for what he had done, and he was overcome with sorrow and guilt over what he had done. One of Henry IV's last suggestions to Henry V was to unite England against a foreign foe to help unite them. (This may seem deplorable, but it was accepted in those times, and to some extent still is.) Well, as it turns out, the partially French Henry V IS the legitimate heir of the French throne, but France of course would rather choose someone of lower rank as their king. But France makes the mistake of mocking England and forcing Henry V's hand. This is when the scenery changes from a performed play to more realistic. Sir Laurence Olivier convincingly portrays Henry V's tremendous energy as well as the famous passages. ("Once more unto the breach dear friends....") One scene of horror from the play that is omitted in this movie is when Henry V orders the execution of Bardolph for stealing a mere cross. Moving on, France's plan (in the play as well as actual history) was to let Henry V get so far and then wear himself and his forces out. This helps make sense of the early victories followed by the weakened and vulnerable state of King Henry V and his forces. 4.1 is arguably the best scene in this play. This is the night before battle and Henry V disguises himself and converses with his men. Then comes the battle that is done surprisingly well with the limited resources back then. (And as in history, France's plan to let England wear itself out backfired miserably.) Then of course comes the tastefully funny scene where Henry V meets his to be wife Katharine. SIDE NOTE: In the reign of his son Henry VI, England was to lose all of France except Calais. (England was to hold that one last bit of land in France even in the later reigns of King Henry VIII and his son King Edward VI.) If you like Sir Laurence Olivier in this, be sure to see him as Hamlet in his "Hamlet," as Mr. Darcy in "Pride and Prejudice," and as Abraham Van Helsing in "Dracula" (1979).

Consider this film in the context of when it was made........2005-12-16

I have to say right off the bat that I am biased in favor the version Kenneth Branagh made in 1989. When I saw his version of "Henry V" in the theater, it was the first time I really came to appreciate the brilliance of William Shakespeare as a wordsmith. For me it was the way Shakespeare was meant to be, full of gritty realism. And a few years ago when I tried watching Lawrence Olivier's 1944 version on TV, I ended up turning it off after ten minutes or so, it seemed so cartoonish by comparison.

But last night TCM broadcast Olivier's "Henry V" again, and this time I was determined to give it a chance. I'm glad I did. While I still much prefer Branagh's version, this earlier production is a perfect example of how an older film has to be considered in the context of the time it was made, namely during the German blitzkrieg. Under those wartime circumstances this film had to be made on the cheap, and it shows. In this version, Shakespeare's play begins as though one might actually be watching it performed for the first time in 1600 at the old Globe Theater. Eventually, through the magic of cinema, the story FAAAAADES into a slightly more realistic environment, but only slightly. For the most part the sets and painted backdrops retain a very theatrical quality, and only the Battle of Agincourt (filmed in the Irish countryside) has a purely realistic feel to it. And I must admit there were a few shots during that battle scene that I was quite impressed with, particularly the tracking shot of the French army picking up speed while on horseback and one great special effect involving swarms of English arrows.

It must be noted that this production was designed in part to pump up the morale of the British troops during the war with Germany; therefore some of text that reflected a bit more poorly on the British was left out. The treacherous assassination plot against King Henry is gone, as are the king's horrific threats outside the gates of Har Fleur, and the hanging of one of Henry's own men for stealing from a church. Also gone is most of Chorus' denouement at the end of the play, in which he describes how the gains made by King Henry were sadly lost in the years to come.

Still, despite these lapses and a lot of overacting, this version of "Henry V" kept my rapt attention through its nearly 2.5 hour length. I think it takes a lot worse than cheap sets to diminish the power of The Bard.

Sir Laurence Olivier's Mastery Of The Bard Is Absolute!!.......2005-04-05

Sir Laurence Olivier understood Shakespeare and his mastery of the great Bard is revealed in his first filmed adaptation of Shakespeare's works (he would follow this one up with his own versions of "Hamlet" and "Richard III" [see my reviews on them], which would serve to define him further as a true Master of William Shakespeare, turning the plays into movies while at the same time maintaining their theatrical aspect). Olivier was an absolute genius, beginning the film as a theatrical production at the Globe Theater, England in 1600 and gradually opening it up into a full-fledged cinematic experience 20-25 minutes into the movie. Here, he uses an excellent supporting cast to round out the characters in the play: Felix Aylmer as Archbishop Of Canterbury, Leslie Banks as Chorus, Renee Asherson as Katherine, Harcourt Williams as King Charles VI, Russell Thorndike as the Duke Of Bourbon, John Laurie as Captain Jamie and Esmond Knight as Fluellen, some of whom would reappear in Olivier's "Hamlet," with Olivier again at the helm. The famous line "Once more unto the breach, dear friends" and the Saint Crispian's Day Speech are included in this faithful adaptation of one of Shakespeare's best historical plays (besides "Richard III" which to my mind classifies more as a tragedy). Unfortunately, Olivier was under certain restrictions by the English government, which hindered him from depicting the English as brutal, as can be inferred from the scene in which Henry makes a violent, but empty threat to do horrible things to the people of Harfluer, should they refuse to surrender (the part where he makes the threat was never filmed, but the rest of the scene is included in the movie)which is entirely understandable, as England was in the midst of World War II and wanted Olivier to make a pro-war "Henry V" to boost the morale of their soldiers in battle. Kenneth Branagh's version of "Henry V" would certainly not be a bad viewing choice for anyone wishing to compare both films or just for a general movie fan. Some will complain about the many liberties taken with the text in both versions, but how much of a V Act play can be put into a 2-2/1/2 hour movie? Certainly not everything. Kenneth Branagh's "Hamlet" is the first (and only version of Shakespeare's plays, so far) to preserve the ENTIRE text of the play and transfer it to the silver screen, while throwing in some creative touches of his own (see my review on both versions of "Hamlet" and on Zeffirelli's, if you're looking for variety).

In short, Sir Laurence Olivier's "Henry V" is the best version of the play, but by all means, view Branagh's interpretation, which adds in other details missing in Olivier's version, for those who want to see the battles, which are only implied in the play and absent from Olivier's version, as well. This version is Not Rated.

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