× urging spectators, like urging soldiers; imagination in war and theatre; military theatre

× at "suppose" flags and two facing kingdoms come into being

× speaker walks toward audience, as camera tracks back, to draw us in

× Music; festivity of whole production; brightness; exaggeration; party atmosphere; music; bright colors--of diplomacy as well as war; Henry is cheerful and happy; the whole experience is festive; clowns are clownish; war is flag waving

× Distanced; consciously artificial and metatheatrical; fanciful; audience included; character of Shakespeare as prompter; prologue is oratorical; reaching upward; camera angles are more varied; look down from galleries and up from groundlings; participatory in production from bacstage.

× darkness to light; match to stage lights; coming into being of the imagined product; light and lighting; Jacobi's tone more brutal and violent, less enthusiastic and admiring; into the darkness

× metatheatricality of backstage-frontstage

× Use of off stage space for behind the scenes; implicit elaboration of costume and theatre/ performance conceit for politics--explicit in text: prologue and Act IV on "Ceremony"

× sense of threat to interest--anxiety and disgust

× close-up for conspiratorial secrecy, moving even closer

× whisper, "I have made an offer...touching France"

× hypocrisy emphasized in crossing and kiss

× made for TV; lack of color or splendor in court; but excellence of clergy; specifically non-festive

× War fever; urging King on; as do the Lords; contrast to the king's reluctance; moderation, amiability, complete self control, and no direct aggression or threat; easy with himself; smug, priggish--element of his holiness; contrast to priests' holiness; King combines lords and priests; plays ball with them, but very hollow and unconvincing

× vastly shortened; satire against priests left out

× Gothic water dripping; darkness

× great doors; more wagnerian sense of imposing and dangerous power--Wellesian style

× Mountjoy and all the French more sympathetic and dignified

× Nym and Pistol neither clowns nor grubby; cleaned up

× good composition and tracking on conspirators; angle up to king; sidewise shots of conspirators; H's bowing to them; his tears; guard's pike in foreground; king behind them; sounds of gulls shrieking

× beautiful simple version of hostess' speech; zooming in to closeup

× French court' blue drapery; feeling of hectic chaos instead of lassitude as in Olivier; Charles' pt. of view toward Exeter

× speech: telling them to gesture; all mid shots, no imaginative camerawork; not very rousing

× threat leaves out gory details

× garden scene: nice composition with trellis arches; strong contrast; birds singing; sweet charm; very young childlike Katharine

× extremely boring portrait of boredom of French; performance drags; HV uninteresting

× king like boy scout leader; too damn prim and chipper

× Williams is good; porky and anxious--boyish in Olivier; gritty and rheumy guy in Branach

× St Crispin's speech: just stands there; no rapport with men

× battle scene not violent enough

× Burgundy is feeble

× courtship is static and self conscious

× typical attempt to turn "the warlike Harry" into a really nice person; he's a peach

× clowns in rain on performance--broad comedy; cartoon characters; talking to audience directly for essential component of humor

× Pistol: Miles Gloriosus; with cock feather; no closeups

× Falstaff scene includes very small flashbacks; he's just scary old man

× is Cambridge Scroop left out altogether?

× Harfleur: craning shot back; great army assemblage; another painting: Breughel: Saul on road to Damascus

× Leaves out grim speech to governor of Harf.

× language less; emphasis on flowers and romantic music; looking down at soldiers

× emphasis on mettle of English

× Disneyesque metacinematics; emphasis on valor of English passages

× Williams is young and horrified

× silent soliloquy; flickering light; focus on sleeping slodier; pace as very slow and meditative; leaves out bad conscience; no agony

× battle sequence; blue sky; beautiful spectacle; tents; loading knight; charges picking up speed

× Burgundy as glamorous and melancholy

× romantic courtship; holding hands; witchcraft in your lips; we are makers of manners

× full circle back to Globe; actress playing Katharine replaced by boy actor with oranges

× scene kept relatively static; actors belong to pictorial composition; separate composed pictures

× playing both Henry and Burbage, Sh.'s chief actor

× throwing crown on throne; Crispian scene, leaping from wagon to horse.

× eloquence; generosity, forgiving; rising power of St. Crispin speech; riding his own passion like the cart and horse

× night before battle is sobering and deepening experience; becomes man of contemplation as well as action

× decimates french language and courtly love tradition: clap hands and there's a bargain 130.

× French are Germans or Vichy French

× censors out English role as aggressor

× contradictions in Sh. portrait eliminated--sense of guilt; bloodthirstyness

× chruchmen are silly instead of sinister and effective

× Cambridge Scrdoop and Grey scene omitted

× Bardolph execution

× cutting prisoners throats; Alexander the pig; joke on Williams

× final reference to Henry VI troubles; boy's list of Pistol's exploits

× 1944; Shakespeare's irony dropped

× Henry is risking lives of his men to make France eat a leek (127)

× Falstaff's return; Pistol as replacement and critic [cf. Branach's elaboration]

× democratic nature of English in battle and audience

× English have deep feelings--Falstaff's death; night before battle vs. French superficiality

× France as peopled with beautiful women and shallow, vain, impotent men; addled brained king

× HV as play within play; May 1, 1600

× grittier (bad teeth); pathos and aggression--Nym's I cant kiss; Pistol is pathetic not bombastic

× naturalistic cliffs of Dover

× tension and violence of conspiracy scene; violent door openings and latchings; kings passion; their attempt to fight back rather than repent; but boyish faces; King's intimacy and fury; fingers on eyes

× Pain of King Charles; closed eyes; memory of past defeats; hatred of war--contrast to Henry and his son

× fury and fire of attack and threat

× language lesson; closeups; mischievous and sexy expression; faster movement; more informality; a real princess and woman; what makes for difference; playful

× emphasis on suffering of troops and pain of war; hanging bardolph; Harry's grimness; cruelty and lenity irony

× wonderful transitions; entrance of Mountjoy

× why is act IV prologue during day? soldiers waiting for action

× contrast of english and french camp; art vs. nature

× universal largesse of king--in cloak; man for all seasons

× ineffective scene; bad lighting; Branach never gets the feeling; no anxiety; sleeplessness not convincing

× sharp cut to battle

× good music for St. Crispians and effetive camerawork; derivative from Olivier

× anxiety and terror of waiting for charge

× battle emphasizing not joy but grimness and blood--blood in mouth

× no kill the prisoners or Alexander the Pig

× emphasis on Pistol's bitterness

× excessive length of non-nobis procession and Henry carrying boy; not convincing, though symbolically significant

× contrast to gorgeous and stately court scene; all cleaned up

× Burgundy's discomfort and decadence

× Henry's sexiness; freshness; her detachment and playing hard to get

× battle of the sexes

× she giggles; he takes her with apparant weakness; he claims her as booty; king's hope for peace