The depiction of Richard III in Al Pacino’s Looking for Richard doesn’t stray far from the twisted, manipulative nobleman described by Shakespeare hundreds of years ago, however it is more dependent on film techniques to build characterization than the actual portrayal of the character himself. Richard is a notably cunning and charismatic character and traditionally, because of the limitations to naturally charm by appearance or stature imposed by his deformities, Richard has perfected his use of words and the manner in which he delivers them in order to persuade the necessary people on his path to power. This unique quality Richard possesses is shown at its maximum potential in the scene where he attempts to convince Lady Anne to marry him, despite him having murdered her father and husband, which presumably would be a deal breaker. Al Pacino makes precise and deliberate cinematographic decisions to emphasize not only Richard’s talent to charm, but also the process in which a person is …show more content…
Her stubbornness is represented by the newly lit background on the set; the sinister dark force infiltrating the conversation is momentarily put to a halt as a result of her unwillingness to concede to Richard’s logic. The second prop of the scene makes its appearance: a rosary in Lady Anne’s hand. Religion is a key element in this scene as it symbolizes the strength of one’s personal beliefs when confronted with an opposing reality while also reinforcing the perception of her innocence. At this point, Richard is darker than he just previously was, but not completely unseen. This back and forth of deliberate lighting and darkening is a way for the audience to gage the progress Richard is making in this pursuit of persuasion. When he speaks and Lady Anne listens, his dark figure breaks into the light and she is able to clearly see him, or rather she is becoming more exposed to his influence and
At the top of the artwork the upper part of the cross extends beyond the altarpiece. The edge of John the Evangelist’s red robe on the left of the altarpiece and the edge of Mary Magdalene’s pale blue skirt on the right are cut off when the panel ends, giving the viewer the feeling that, rather than looking in on the scene, the viewer is actually taking part in the scene. This, added to the empathy invoked through the delicate, heart-wrenching rendering of the figures in the artwork, let the observer directly interact with the painting and places him/her within the narrative.
To explore connections between texts is to heighten understanding of humanity’s progressing values and the underlying relevant themes that continue to engage societies regardless of context. William Shakespeare’s King Richard III (1592) (RIII) and Al Pacino’s docudrama Looking for Richard (1996) (LFR) demonstrate how opinion is created through comparative study, both explore the struggle for power within differing contexts to determine the duplicity of humanity. Ultimately, despite the divergent eras of composition and textual form, these connections expose the relevant social commentaries of their composers, highlighting innately human values, which remain constant.
This shows the irrational logic that is being used in the movie, as well as the use of environment to draw a basis for conclusion. From this they arrive at the same conclusion they had in the beginning, that being that the woman was a witch.
...e was also writing in Tudor England and seemed to have openly dislike Richard III. In other portions of his writing he describes Richard as an unattractive deformed man who was born with a full set of teeth. He writes that he had a “sour countenance , which seemed to savour of mischief, and utter evidently craft and deceit.”
Richard starts of persuading Lady Anne to marry him. After killing her husband and dad, he still blames her for not accepting his love. With great confidence, he tells her to either kill him or marry him. “Arise,
The premise of William Shakespeare’s circa 1597 historic tragedy Richard III relies on the violent struggle between two noble houses, the Lancastrians and the Yorkists, known as the Wars of the Roses. Even though it can stand entirely on its own, the preceding plays of this tetralogy, 1 Henry VI, 2 Henry VI, and 3 Henry VI brilliantly sketch the foreground for Richard III as it picks up directly from the events described in 3 Henry VI. The last Lancastrian king, Henry VI, and his heir, Prince Edward, have been killed and Richard’s eldest brother has been crowned King Edward IV. The usurpation of the throne and deaths of the male Lancastrian line bring forth one of Shakespeare’s more fervent characters in Richard III, Queen Margaret. Widow to Henry VI and mother to Prince Edward, the Lancastrian Queen Margaret is a personification of revenge and resentment. She uses verbal cursing (negative prophecies) in an attempt to revenge against the York’s. Margaret’s curses play a greater role in Richard III than many recognize. Through her curses she foretells, and perhaps causes, the certain ruin of the royal household around which the play is centred, including the Yorkist deaths and Richard’s utter professional, psychological, and physical ruin. Margaret’s role slowly changes as the play advances; she first serves as a sort of cautionary for the other characters, then as a foreteller or chorus for the audience, and finally she becomes Richard’s conscience, ultimately bringing about his demise.
At the very outset of the play, readers are presented with the power-hungry, self-loathing Duke of Gloucester, defined by his thirst for vengeance and power and by his uncanny ability to manipulate the minds of the people around him. Richard appeals to the audience’s sympathies in his self-deprecating description, when he declares that he is deformed, unfinished, and so hideous and unfashionable that dogs bark at him as he passes by. The imagery he utilizes throughout the opening soliloquy also evokes a feeling of opposition and juxtaposition which speaks to the duality of his nature.The juxtapositions he employs are more than rhetorical devices, as ...
This contributes to a very villainous role. Richard begins his journey to the throne. He manipulates Lady Anne. into marrying him, even though she knows that he murdered her first. husband.
"therefore, since I can not prove a lover, To entertain these fair well spoken days, I am determined to be a villain".As a villain Richard must be heartless, he can not let his emotions interfere with his actions.
Instead of a powerful physical image, like Queen Elizabeth I, Richard implements elegant soliloquies, engages in witty banter, and attunes the audience to his motives with frequent asides. This flexibility demonstrates Richard's thespian superiority and power over the rest of the play's cast, making him a unique character in the play, but why does he do it? This constant battle between characters to claim mastery over a scene leaves the audience with a seemingly overlooked source of power for an actor [clarify/expand].
According to many, Shakespeare intentionally portrays Richard III in ways that would have the world hail him as the ultimate Machiavel. This build up only serves to further the dramatic irony when Richard falls from his throne. The nature of Richard's character is key to discovering the commentary Shakespeare is delivering on the nature of tyrants. By setting up Richard to be seen as the ultimate Machiavel, only to have him utterly destroyed, Shakespeare makes a dramatic commentary on the frailty of tyranny and such men as would aspire to tyrannical rule.
Firstly, let us analyze the similarities between the two characters’ rise to power. Richard III, the younger brother of the current King, Edward IV, resents his brother’s political power and his admired societal recognition. This bitterness is what drives Richard to do whatever is necessary to attain the throne, later equating to a series of malicious murders. Richard III is also interesting because of the fact that he was born with a deformity. As a consequence, he has always been in the shadow of his family and desires the power and limelight.
Firstly, Niccolo Machiavelli ‘s influences on England during the Elizabethan Era transmit in the plot of the play. Machiavelli published Il Principe and established guidelines on how a prince could get and secure power (“The Influence of Machiavelli on Shakespeare”). This can be seen in the first scenes of the play, when Richard outlines his plans that will lead him to the throne. The character exclaims, “Plots I have laid, inductions dangerous, by drunken prophecies, libels and dreams” (Act 1). Shakespeare’s main point is that Richard III will do anything in his power to get what he wants. This characterization is tied to Machiavelli’s influence in Elizabethan era because his writings encouraged the quest and obtaining of power. While Machiavelli introduced new political ideas during this era, Shakespeare adapted his tenants...
The immediate background consists of natural mounds of dirt and a brick wall that enclose the Virgin, Child, and St. John, amplifying the protective effect that Mary’s figure has. The dirt mounds roll inward with a brick wall bordering them on the right, drawing the viewer’s attention towards the three figures. The background is painted in broad terms, with a simple, uniform depiction of tree leaves and smooth rock faces on the horizon. This contrasts with the fine-lined detail and texture of Mary’s hair, facial features, and veil, which further contribute to her elegance and highlight her
Eccles, Mark. "Richard III on Stage and Screen." Richard III. New York: Signet Classic, 1988. 265-78.