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The crowning achievement of Orson Welles’s extraordinary cinematic career, Chimes at Midnight was the culmination of the filmmaker’s lifelong obsession with Shakespeare’s ultimate rapscallion, Sir John Falstaff. Usually a comic supporting figure, Falstaff—the loyal, often soused friend of King Henry IV’s wayward son Prince Hal—here becomes the focus: a robustly funny and ultimately tragic screen antihero played by Welles with looming, lumbering grace. Integrating elements from both Henry IV plays as well as Richard II, Henry V, and The Merry Wives of Windsor, Welles created a gritty and unorthodox Shakespeare film as a lament, he said, “for the death of Merrie England.” Poetic, philosophical, and visceral—with a kinetic centerpiece battle sequence that rivals anything in the director’s body of work—Chimes at Midnight is as monumental as the figure at its heart.
Disc Features:
-New high-definition digital restoration, with uncompressed monaural soundtrack on the Blu-ray
-Audio commentary featuring film scholar James Naremore, author of The Magic World of Orson Welles
-New interview with actor Keith Baxter
-New interview with director Orson Welles’s daughter Beatrice Welles, who appeared in the film at age nine
-New interview with actor and Welles biographer Simon Callow
-New interview with film historian Joseph McBride, author of What Ever Happened to Orson Welles?
-Interview with Welles while at work editing the film, from a 1965 episode of The Merv Griffin Show
-Trailer
-PLUS: An essay by film scholar Michael Anderegg
From Criterion's website:
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Disc Features:
-New, restored 4K digital transfer of the English-language version of the film, with uncompressed monaural soundtrack on the Blu-ray
-Alternate French-language version of the film
-Audio commentary from 2005 featuring film scholar Adrian Martin
-Portrait: Orson Welles, a 1968 documentary directed by François Reichenbach and Frédéric Rossif
-New interview with actor Norman Eshley
-Interview from 2004 with cinematographer Willy Kurant
-New interview with Welles scholar François Thomas
-PLUS: An essay by film critic Jonathan Rosenbaum
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