Some rate Orson Welles’ 1965 Shakespeare compression/adaptation Chimes At Midnight as a) the greatest Shakespeare film ever, or at least close, and/or b) one of Welles’ greatest cinematic achievements period. You want testimonials? Chimes is the subject of one of Pauline Kael’s most rhapsodic critical swoons, one written not for The New Yorker but The New Republic. Here is one of my favorite passages from the long piece: “He [Welles] has directed a sequence, the battle of Shrewsbury, which is unlike anything he has ever done, indeed, unlike any battle ever done on screen before. It ranks with the best of Griffith, John Ford, Eisenstein, Kurosawa—that is, with the best ever done.” Go read it, it’s in both For Keeps and the recent Library of America selection of her work. Ron Rosenbaum, author of The Shakespeare Wars, therein calls Chimes an “amazing and, to me, so-far-bottomless […] film fusion of the Henry IV plays.”
Yes: the film is not even two hours long, but it feels like an entire world, an inexhaustible environment of artistic and emotional richness And I’ve only ever seen the damn thing on television. And in largely not very good versions. One hears not infrequently of screenings of “restored” versions and whatnot. But so far, no doubt at least in part because of legal questions pertaining to both the film’s actual producers and the rights of verious individuals and parties claiming to have a claim in the Welles estate, a completely confidence-inspiring steward of the work has yet to emerge.
So Welles enthusiasts—although I should dare say that the category “Welles enthusiast” should encompass the entirety of cinema enthusiasts, but I imagine that “the Internet” or some creation of it might contradict me on that point—who desire to enjoy Chimes At Midnight, also called Falstaff, on video have had to rely on what might be considered bootlegs. But can an object that is for all intents and purposes an orphan actually be bootlegged? It’s a question that I, a person who tends to eschew bootlegs for personal ethical reasons that I won’t bore you with, don’t get much joy out of grappling with. In the case of Chimes, though, I want it in my life, I want it in my library, and I want to be able to enjoy it once or twice a year at least, because it’s not just great Shakespeare, a great Shakespeare adaptation, etc.; it’s a genuinely magical film, as spellbinding and strange and funny and poignant and inventive as any damne thing Welles attached his name to. As a result of this desire, I now have three DVDs of the movie at my right hand at the moment. We begin with bad news, and end with pretty good news.
1) Campanadas a medianoche, Suevia Films, circa 2007.
My then-Première colleague Andy Webster paid through the nose for a copy of this Spain-issued Region B PAL disc back in the day when researching a Welles DVD Filmography for the magazine. These days, you can get a used copy for anywhere between fifty bucks and…what’s this? Two hundred bucks? Yup. I wouldn’t go for it now, particularly as I can’t expense it, and neither should you. The transfer preserves the film’s 1.66 aspect ratio…albeit within a 4:3 box that is not enhanced for widescreen displays. The transfer also looks interlaced as opposed to progressive, and while largely clean, is very gray and largely dull. Detail is shaky, unremarkable. The sound is advertised as Dolby Stereo and is reasonably clear. As with his prior The Trial, Mr. Arkadin, and other films, Welles made this with no direct sound, and often the actors speaking on screen are not who we hear on the soundtrack (Marina Vlady and Fernando Rey are pertinent examples). Contemporary technology could have helped Welles’ DIY approach yield smoother results but, you know. —C-
2) Chimes At Midnight, Nostalgia Family Video, version copyrighted 2008.
Bargain hunters (I see a used copy floating around for about twenty-five bucks at Amazon right now; new versions pop up now and again for even less) and those who are senselessly deprived of region-free players will see the value of this version, but it’s no great shakes. At all. Again, a 1.66 picture in an unenhanced 4:3 box, and what’s worse, when not viewing in zoom mode, there’s a wavering blue horizontal line in the lower right corner of the 4:3 box (not visible in the screen capture above). The materials seem a trifle newer than those used for the Suevia version, but again, they are gray, gray, gray. The look is often more like that of a well-preserved ’50s kinetoscope than that of a film. The sound is clear. Docked a notch from the Suevia for the blue line. —D+
3) Falstaff (Chimes at Midnight), Films Sans Frontieres, 2011
This strange label with its odd practices: sometimes going region-free, as befits its name…and sometimes not. This is an all-region disc in theory but as it’s in the PAL broadcast format you need an all-region player to watch it. I’m sure glad I do. For one thing, this is the first disc version I’ve seen that is enhanced for widescreen displays. While I don’t have the tools to make a precise determination, I discern that the image presented is close to 1.66 if not exactly there; maybe a hair or so wider than it ought be. Not entirely sure, as I said. But what’s really crucial is that the image itself is worthy of nearly filling a whole display. The black-and-white is very definite, and gorgeous; there’s a magnificent boost of clarity and detail and very little, if any at all, visible digital artifacts: no obvious edge-enhancement or noise reduction. But again, a great deal of detail. Check out the dialogue between Keith Baxter’s Prince Hal and John Gielgud’s Henry IV about 37 minutes in; the abysses of black that frame the characters in the chilly isolation of the castle throne room. Magnificent.
The versions of this film available on the U.S. Amazon site are rather confusingly categorized, and hence you can’t necessarly be sure what you’re getting. I never bought the Brazilian issue of this disc, nor the British disc from a few years back that is now fetching almost three hundred dollars on the site as I write this. To be assured of getting THIS version, I’d suggest ordering it directly from French Amazon, where it’ll set you back about twelve Euros plus shipping. All I can tell you is while it’s not an official or sanctioned restoration, it’s the most consistently enjoyable presentation of the film I’ve seen, period. Until there’s a Blu-ray (and I think the materials used here could support one) from some firm as well-regarded as Criterion and/or Masters of Cinema, this should be considered the home version of record. —A–
UPDATE: Damn. All the while I was working on this, and the much-bruited (by the company itself) Mr. Bongo version—a “definaitive [sic], restored version,” yet—comes out in Britain, under my nose. (See the comment by Robert Sweeney below.) I shall seek it out and report on it as soon as possible. If it’s a patch on the Films Sans Frontieres version, it should be very special indeed. We’ll see, and report.
Thanks so much Glenn. I’ve always wanted a decent version of this. Have you heard anything about the quality of the DVD that Mr. Bongo put out this year? Here’s the UK Amazon page:
http://www.amazon.co.uk/Falstaff-Midnight-Definative-Restored-Version/dp/B007H7OQW2
Thanks for the guide—much-needed. I saw this at Spectacle Theater a while back, I suspect from the Spanish version, and it is a hell of a great movie.
But THE TRIAL is still Welles’ best.
This is a great public service, Glenn. I’ve heard excellent reviews of the Bongo disc, although my copy is still in transit. Apparently “The Trial” will be on Blu later this year; quite the windfall for Welles fans!
How about some more DVD-only release reviews: ‘Dark Days’, ‘The Devils’, ‘Dreams of a Life’, the Eclipse boxes, Laurel and Hardy, the ‘Otoko wa Tsurai yo’ triple bill, ‘The Portuguese Nun’, Errol Morris’ ‘Tabloid’ and the Warner Archive?
It is indeed a masterpiece. I saw it when it was first released, in the U.S. in 1967. Kael’s review is indeed remarkable – especially in line of her attack on Welles in ““Raising Kane.”
The main rights villain in Wellesland is beatiurce Welles – who appears in “Chimes at Midnight” as Falstaff’s page. “o sharper than a serpent’s tongue!” etc.
I ahve a DVD of it that was put out several years ago – not sure by who. It’s quite fine.
Best seen as a Double feature with Gus Van Sant’s remake “MY Own Private Idaho”
http://www.youtube.com/watch?v=vrV27mnZFwM
http://www.youtube.com/watch?v=f2pT37FDiPY
http://www.youtube.com/watch?v=wDy2xVsDSj0&feature=related
I can’t compare the Mr. Bongo version to anything else that’s out there, but I have it, and I’d say it’s very good; soft in spots, but not enough to get exercised over. I found I preferred looking at it in “Zoom 1/2X” mode on my Oppo-93, which boxes in the anamorphically enhanced image but seems to tighten it as well, not that it’s at all unacceptable when it fills it my screen. No extras but a nice disc if you can’t get your hands on any other, and at a reasonable price (9.99 pounds or $16.10).
Glenn, I am pretty sure the Bongo version is itself a ripoff of the French Studio Canal from several years ago which was on the shelves for only a couple of weeks before you know who threatened to sue them. I have this one and the rats arse ugly Suevia disc.
The Canal disc is “around” but not in palces you want to enter by the sound of it. Frankly I would rather DL it from there than pay Bongo money for what is in all likelihood a ripoff anyway. The Canal cannot currently be sold legally in Europe thanx to Beatrice.
IMO the image quality is very good and print damage is minimal. But there’s one proviso – unlike the Suevia it’s not in Welles’ original ratio of 1.66 (matted from 1.37) but a tighter slightly haircutting 1.85. Although this is simply plain wrong, I have to say it doesn’t harm critical shots like the interior wides which Welles has shot from low angle with ceilings in view, or even CUs and so forth. Anyway maybe someone else here can confirm the Bongo is indeed this. (They would have had to do a PAL to NTSC conversion of course.
As for Films sans frontieres The least libellous thing I can say about Galeshka who runs it to give him the honorific of “Notorious Copyright Speculator”, a term often attached to another shocker, Mr. R Rohauer. One could write a book about the way Galeshka completely sabotaged a planned legit French edition a couple of years ago of Sternberg’s Anatahan from pristine elements and with the consent of the true rights holder (JVS’widow). FsansF put out its own woeful Cin. Francaise print of it (owned by Galeshka of course) within days of hearing about Carlotta’s plans. Horrible man.
Thanks, David, as ever, for the illuminating information, even if it is information pertaining to something like a rat’s nest.
I went to Kim’s yesterday in search of the Bongo “Chimes”, they’re out and may have it in a week and a half. If it’s indeed 1.85 instead of 1.66 then the Films sans Frontieres version still wins on account of being closer to 1.66. Whether we ought to applaud this is, as you so vividly imply, very much open to question.
Ah, Beatrice Welles. Can’t anyone talk sense to her? Maybe if I buy one of her handbags?…http://beatricewelles.com/beatrice_welles_collection.htm
People have been trying to talk sense to her for years – to no avail. One of the reasons “The Other Side of the Wind” remains in limbo is that she has laid claim to it even though she didn’t have a damned thing to do with it. The law sees her asa “blood relative.” Had Oja married Orson Beatrice wouldn’t have been able to barge in.
Thanks for this, Glenn.
Getting greedy now – what’s the best disc of The Trial currently out?
Milestone Video put out a version of The Trial some years ago. It is out of print and will run you at least $44 or so. Likely the best version at this time.
http://www.amazon.com/Trial-Anthony-Perkins/dp/6305772061/ref=sr_1_4?s=movies-tv&ie=UTF8&qid=1336866986&sr=1–4
Thanks Brian, appreciate it.
Worth noting Studio Canal have announced a blu-ray release of The Trial for September. http://forum.blu-ray.com/showthread.php?t=199393
@ rcjohnso and company: I was out all day—taking a special trip to the Lafayette for a screening of “Woman In The Window,” and then making nice with other film critics at a big Park Slope party—else I woulda weighed in sooner. BIG fan of the Milestone “The Trial.” Interested, warily in the upcoming Canal Blu-ray.
And since David Hare brought up the subject of FSF’s, uh, “questionable” business practices, it’s worth nothing that Mr. Bong themselves work much in the same vein:
http://www.criterionforum.org/forum/viewtopic.php?p=290427#p290427
http://www.criterionforum.org/forum/viewtopic.php?p=380548#p380548
Thanks so much for clearing this up!! I was lost with all the versions out there
Here are screen caps of the Bongo disc found on the Criterion forums. Contrast and clarity look great, if a tad too unbelievably smooth.
http://www.criterionforum.org/forum/viewtopic.php?p=388131
Even though the guy who made the captures says it’s 1.85, it’s easy to check and see he’s wrong. Actual measurements of the Bongo samples he provides are 1.72.
As a matter of fact, the sample shown on this page from Sans Frontiere figures out to be 1.72 as well.(Quickest way to test is by scaling the height of the sample to 1000 pixels. The width is then 1718 pixels).
Good deal on the Sans Frontiere from Amazon.fr – because that 11,44 euro price is magically reduced to 9,43 for American buyers. But yeesh, the shipping charge is insane. Over 10 euros shipping. Total of 20 euros = $27.
There are sellers in Amazon UK offering the Bongo edition for around £8 + £3 shipping to US. Total of £11 = $19.
Since the screen ratio does not seem to be an issue after all, I think I’m gonna take a chance on the Bongo disc.
That way I can donate the $8 I saved to President Obama.
Yes; 1.72 indeed. Not quite 1.66. Wonder what the damn ACTUAL aspect ratio is.
Looks like I’ll have to give the Mr. Bongo a closer look. Working on it.
Speaking of The Trial and StudioCanal, I was in Berlin last month and picked up a copy of the DVD on a German label called Arthaus that also has the StudioCanal logo on it. Says it’s anamorphic and is 1.66, so would this be as good as the Milestone? Only paid like 10 or 12 Euros for it.
Wait, the Milestone DVD of The Trial (which I have right here on my shelf) is out of print?!? Yikes! Time to make myself a backup on hard drive, to join my Criterion Dead Ringers and Sid & Nancy…
One could produce a DVD Consumer Guide for most of Welles’ films. I’ve read the history, yet I still don’t understand.