Richard iii and lfr values essay

Shakespeare’s tudor propaganda, King Richard III and Al Pacino’s vanity project, Looking for
Richard have resonances and dissonances between each other that reimagines to a limited
extent, the values between the Elizabethan text and the modern era. King Richard III is an
Elizabethan drama based on a crippled and power hungry Duke of Gloucester, whose
hunger for power in the War of the Roses, is undermined by Shakespeare’s moral judgment
of Richard. Al Pacino’s docudrama explores Shakespeare’s lasting impact in pop culture,
through a chaotic film set mixed with vox pox and methodical acting. The divergence
between the values of the two times can be explored through the ideas of ambition in the
light of power and similarities through gender treatment and inequalities. As a consequence
for the 400 years that separates the two forms of art, Pacino’s text does represent a
reimagining of the values in Shakespeare’s play in some forms, whilst others he does not.
King Richard’s duplicitous nature accompanied by his ambition, brings about chaos due to
his selfish motives which harm society. Shakespeare personifies Richard’s evil as an
embodiment of a Machevillian character, fuelled by ambition. Richard’s monologue “I cloak
my naked villany… and seem a saint when most I play devil” allegorically represents to the
reader the Machevallian qualities of Richard as he metaphorically juxtaposes himself as a
saint and devil. Richard’s ambition and lust for power is foreshadowed and hence drives him
to cause chaos evident in “I am determined to prove a villain and hate the idle pleasures of
these days.” Shakesperae illustrates Richard as an agent of chaos through his manipulation
of Richard’s character that ambition is viewed negatively, but rather God and religious
paradigms should decide who is leader. Ambition is further reinforced “I that am curtailed of
this proportion cheated of feature by dissembling nature.” Shakespeare’s imagery depicts
Richard’s deformities and hence resulting in the belief that no one deserves to be king.
Contrastingly, where ambition is not present but the religious beliefs in God as the chooser
of king, Shakespeare delineates Richmond in a glowing light “I’ll draw the form and model of
our battle.” Thus, the way in which Shakespeare contrasts Richard’s ambition leading to his
downfall, and Richmond being God’s chosen as the conqueror of evil, shows ambition is not
favoured.
Al Pacino’s LFR however, emphasises on ambition and how the individualism of it leads to
the American dream rather then chaos. Al Pacino’s production as an art house vanity project
promotes himself manipulating the audience through cutaways, specific and timed edits. The
medium of the film allows for one to shape and force the audience attention to a specific
scene. Pacino’s ambition is displayed as egocentric, Hollywood star fulfilling his own
purpose of promoting himself into the world. This profile creates a heroic and insightful
connotation to Pacino who comments to the audience that his objectives are to make
Shakespeare more accessible to modern society due to the depth in value changes. This is
achieved through the vox pop at the start of the film, fuelling the ambition of Pacino as a
controlling authority. Further, Pacino method acts, popularising Shakespeare and
manipulating the character of Richard. Ultimately, Pacino wants Ricahrd to win, evident
through, “When are we going to kill Richard” as his persona resonates with the gangster
character of Richard and modern audiences more than the pious Richmond. Dissonances
are evident within LFR, as Pacino embodies the character of Richard and strives for him to
remain alive as in contemporary society, ambition is adored and aspired to. Hence, the
difference in societal values are evident, as Richard’s ambition leads to failure which in
contrast to Al Pacino, ambition is a quality of success.
Richard III’s textual value to the time outlines gender inequality and the disempowerment of
women in the 15th century. Evidence of this within the play is seen by Elizabeth’s statement,
“why grow the branches when the root is gone? Why wither not the leave that went with their
sap?” The rhetorical devices outline the instantaneous loss of power she has received once
she is no longer queen. All status came from her husband and as he is dead, she is
vulnerable. This disempowerment is similarly seen when Anne is forced to marry Richard,
not out of love, but power. “God bless thee and put meekness in thy breast, Love, charity,
obedience, and true duty!”, is an epiphany facade by Anne which shows she does not wish
him well, but due to the disempowered nature of women, she realises she must have a
duplicitous nature in order to stay safe. Shakespeare uses stichomythia of subversions and
inversions between Richard and Anne to further disempower women, “More wonderful when
angels are so angry.” Richard uses an old age trick to disempower Anne, intending that she
does not strike fear into him. Consequently, it is transparent that values within the
Elizabethan text are very misogynist.
LFR’s perspective and treatment of women converges with the Shakespearen time, where
secular societal attitudes have influenced the depiction of gender inequality. Pacino chooses
to characterise Margaret through his own voice over as a “ghost of the past, who haunts the
yorks” reinforced by her costume choice of faded clothes, a discoloured crown and messy
hair conveying her time has passed and she is now just a nuisance to the York family.
Margaret’s curses are undercut by the close up shot of the smirking York family, conveying
their lack of importance to Pacino’s twentieth century secular audience. Furthermore, Pacino
uses visual stichomythia through rapid cuts of camera between Anne and Richard, in order
to reshape Richard’s wit from the play into sexual power for greater understanding by his
modern day audience and conveys women as a stepping stone in Richard’s pursuit of
power. Furthermore, chiaroscuro lighting is adopted in order to convey Richard as an
enigmatic figure who can target the weakness of Anne. In addition, Kimball reinstates the
idea that women have a minor role in Shakespearean society. This is achieved by Kimball
interrupting Ryder as a plot device to mock her during a workshop, which portrays Ryder as
a subservient to Pacino. Thus, LFR reimagines the value of gender inequalities within
Elizabethan society.
King Richard III and LFR both have resonances and dissonances between their values, of
which Pacino reimagines in his own way. Ambition in the Shakespearean play results in the
King’s downfall whereas it is contrastingly viewed as individualism and pursuit of the
American dream in the docudrama. However gender roles are conveyed similarly and its
values have not changed. Thus Pacino’s reimagined King Richard consists of both
resonances and dissonances from the original Shakespearean play.
Quote
Technique
Analysis
Duplicitous nature accompanied by his ambition, brings about chaos due to his selfish
motives which harm society. Personified; evil as an embodiment of a Machevillian
character, fuelled by ambition.
I cloak my naked villainy and Juxtaposition allegory
seem a saint when I most
play devil
Machiavellian qualities of
Richard and is duplicitous highlights how ambition to
rule is looked at negatively
I’m determined to prove a
villain and hate the idle
pleasures of this day
Lust for power → his
Foreshadowing
ambition to rule leads to
chaos within the
environment
I’ll draw the form and model
of the battle
Delineating Richmond
Richmond, the God chosen
one is delineated by
Shakespeare → positive light
Curtailed of this proportion
and cheated of feature by
dissembling nature
Imagery
Contrast to Richmond,
Richard is illustrated by the
text as not a ruler → Richard
believes although he is
deformed, if not him, no one.
Emphasis on ambition → individualism leads to the American dream rather than chaos. An
art house vanity project promotes himself manipulating the audience through cutaways,
specific and timed edits.
Promoting Shakespeare
Medium of the film
Emphasize both the actor
and surroundings giving
equal presence. Clearly
show the actor’s face and
emotions while informing the
audience what’s going on in
the world around them.
Start of the film
Vox pox
Shakespeare more
accessible to modern
society; value changes
“When are we going to kill
Richard”
Method acts
Pacino is the controlling
authority, gangsta →
popularising Shakespeare
and manipulating the
character of Richard.
Audience resonates with
Richard remain alive as
ambition aspired
Richard III’s textual value to the time outlines gender inequality and the disempowerment
of women in the 15th century.
Why grow the branches
when the root is gone?
Rhetorical device
Instantaneous loss of power
once she is no longer
queen. All status from
husband he is dead;
vulnerable.
God bless thee and put
meekness in thy breast,
Love, charity, obedience,
and true duty!
Epiphany
Anne forced to marry
Richard, not out of love, but
power → facade which
shows,does not wish him
well → disempowered
nature, duplicitous nature
only way ro stay safe.
More wonderful when
angels are so angry.
Stichomythia of subversions
and inversions
Old age trick → he does not
fear her aggressiveness →
looking down upon her
LFR’s perspective and treatment of women converges with the Shakespearen time, where
secular societal attitudes have influenced the depiction of gender inequality.
Ghost of the past, who
haunts the yorks
Pacino voice over and faded
clothes, a discoloured crown
and messy hair
Pacino characterises
margaret → conveys her
time has passed → useless
to York’s
Margaret curses
Undercut by the close up
shot of the smirking York
family
The insignificance of her
curses → Pacino’s twentieth
century secular audience
Anne and Richard
Visual stichomythia; rapid
cuts, chiaroscuro lighting
Reshape Richard’s wit,
sexual power, greater
understanding modern day
audience, conveys women
as a stepping stone in
Richard’s pursuit of power.
Lighting makes Richard
enigmatic, targeting Anne
weakness.
Kimball interrupting Ryder
Plot device
Mock her during a
workshop, which portrays
Ryder as a subservient to
Pacino.
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