R.I.P., Richard Johnson (2015 June 06), who here portrays Cassius. Condolences to Mr. Johnson's family and loved ones. For those who may be interested: A classically-trained actor of exceptional intelligence, range, diversity, and subtlety (stage, screen, TV, radio). Devoted to his craft, with unusual integrity to each role. Gracious, humorous, humble. A vastly underrated, rare kind of screen artist, and little known in the U.S. One of Britain's best. Johnson's Cassius is the best I've ever seen. In nailing the complexity of the character - and with such understated, compelling power and resonance - he also pays proper tribute to the overall complexity of Shakespeare's play itself (i.e., no easy categorizations of 'good guys' versus 'bad guys'). Remarkably, Johnson achieves this despite the poor direction of the film. An impressive achievement which thebuss1214's student-trailer admirably enhances (what the movie's director failed to do) - bravo! Johnson was also founder of United British Artists, which produced some notable independent films, featuring truly knockout actors of stage and screen ("Turtle Diary," with Glenda Jackson, Ben Kingsley and Michael Gambon; "The Lonely Passion of Judith Hearne," with Maggie Smith; "Castaway," with Oliver Reed; "The Biko Inquest," with Albert Finney, about South African anti-apartheid activist Steven Biko). He was also a longtime advocate for the natural environment, long before it was 'fashionable'. As with many of his generation and prior, we'll not see his like again. Johnson's final (if not fullest and finest) screen portrayal is in "Radiator". A true gem of a film, reportedly set for general theatrical release later this year (2015). For the rarity, generosity, spirit, and discipline of your artistry, Mr. Johnson, thank you. Truly.
I roundly second the other comments. Combined, your editing and choice of music give the material a dramatic force that the film's direction in some scenes lacks. Plus, the music used here is not bombastic. It's justified and compelling, and well serves the weight of the story, while not artificially amplifying what isn't there in Shakespeare's material. Your trailer does a fine job at building dramatic narrative and character momentum. A perfect example of this is how your video happens to highlight Richard Johnson's brilliant, multi-layered portrayal of Cassius throughout the movie. Johnson gives a great, truly intriguing performance in this 1970 version -- intelligent, nuanced, three-dimensional, credible, and neither underplayed nor showy/stagey. His keenly discerning portrayal, marked by a wholly convincing gravitas, suggest more as to the historical record on Cassius (and the Roman Republic vs. the Roman Empire), and a more complex psychological reading of the play, and thus human nature, than do conventional interpretations of the play's principal characters. So, when your video reaches the 1:46 mark, you've done more justice to the climax of Johnson's complex characterization than did this movie's director, who all but deflated that scene of its meaning and power (static direction, lazy camera placement/shots and nearly non-existent editing), relative to the full impact of the entire story and to the other characters. Along with Diana Rigg's brief appearance as Portia, and Charlton Heston's performance as Marc Antony, Johnson's integrity to the original material out-classes the lot*. And so does your video. An A+. =) * Overall, IMHO, I actually prefer this 1970 movie version to the 1953 version. With all due respect, John Gielgud's Cassius leaves a great deal to be desired compared to the subtle yet dynamic richness of Richard Johnson's Cassius. As for Brutus, a strong performance by the wonderful James Mason in the 1953 version, if not one which suggests a more calculating Brutus. And whereas Jason Robards's Brutus starts out terribly (a case of unfortunate miscasting) in the 1970 version, I think the spirit of his performance improves significantly, from his speech at Caesar's funeral onward, where his Brutus comes off as sincere (and thus ambiguous) in his reasoning; then, later, worn and world-weary in accepting his fate, and his strongest scenes in argument and reconciliation with, and final farewell to, Johnson's Cassius. And, even though Heston is old to play Marc Antony in the newer version, that fact serves his portrayal well. His maturity yields a much more interesting and layered characterization (it shows more depth of sincerity AND political savvy) than that of Marlon Brando's overtly indignant, brash righteousness in the 1953 movie. I like Robert Vaughn's Casca and David Neal's Cinna in the 1970 film as well. I think this version continues to receive an unfairly bad rap, and perhaps the 1953 version an unfairly easy pass of uncritical, blind approval. It's not about trashing one movie or character interpretation over another, but appreciating what is contrasting and noteworthy in various versions, and in their respective time periods of production and viewer expectations. After all, Shakespeare evokes richness and depth, not rigidity and dogma, of perspective and interpretation, yes? ;)
The music fits the video perfectly.
And Brutus is an honorable man...
R.I.P., Richard Johnson (2015 June 06), who here portrays Cassius. Condolences to Mr. Johnson's family and loved ones.
For those who may be interested:
A classically-trained actor of exceptional intelligence, range, diversity, and subtlety (stage, screen, TV, radio). Devoted to his craft, with unusual integrity to each role. Gracious, humorous, humble. A vastly underrated, rare kind of screen artist, and little known in the U.S. One of Britain's best.
Johnson's Cassius is the best I've ever seen. In nailing the complexity of the character - and with such understated, compelling power and resonance - he also pays proper tribute to the overall complexity of Shakespeare's play itself (i.e., no easy categorizations of 'good guys' versus 'bad guys'). Remarkably, Johnson achieves this despite the poor direction of the film. An impressive achievement which thebuss1214's student-trailer admirably enhances (what the movie's director failed to do) - bravo!
Johnson was also founder of United British Artists, which produced some notable independent films, featuring truly knockout actors of stage and screen ("Turtle Diary," with Glenda Jackson, Ben Kingsley and Michael Gambon; "The Lonely Passion of Judith Hearne," with Maggie Smith; "Castaway," with Oliver Reed; "The Biko Inquest," with Albert Finney, about South African anti-apartheid activist Steven Biko).
He was also a longtime advocate for the natural environment, long before it was 'fashionable'.
As with many of his generation and prior, we'll not see his like again. Johnson's final (if not fullest and finest) screen portrayal is in "Radiator". A true gem of a film, reportedly set for general theatrical release later this year (2015).
For the rarity, generosity, spirit, and discipline of your artistry, Mr. Johnson, thank you. Truly.
very well done!
Very good. I hope you got a good grade. What was the music?
I roundly second the other comments.
Combined, your editing and choice of music give the material a dramatic force that the film's direction in some scenes lacks. Plus, the music used here is not bombastic. It's justified and compelling, and well serves the weight of the story, while not artificially amplifying what isn't there in Shakespeare's material.
Your trailer does a fine job at building dramatic narrative and character momentum. A perfect example of this is how your video happens to highlight Richard Johnson's brilliant, multi-layered portrayal of Cassius throughout the movie.
Johnson gives a great, truly intriguing performance in this 1970 version -- intelligent, nuanced, three-dimensional, credible, and neither underplayed nor showy/stagey. His keenly discerning portrayal, marked by a wholly convincing gravitas, suggest more as to the historical record on Cassius (and the Roman Republic vs. the Roman Empire), and a more complex psychological reading of the play, and thus human nature, than do conventional interpretations of the play's principal characters.
So, when your video reaches the 1:46 mark, you've done more justice to the climax of Johnson's complex characterization than did this movie's director, who all but deflated that scene of its meaning and power (static direction, lazy camera placement/shots and nearly non-existent editing), relative to the full impact of the entire story and to the other characters.
Along with Diana Rigg's brief appearance as Portia, and Charlton Heston's performance as Marc Antony, Johnson's integrity to the original material out-classes the lot*. And so does your video. An A+. =)
* Overall, IMHO, I actually prefer this 1970 movie version to the 1953 version. With all due respect, John Gielgud's Cassius leaves a great deal to be desired compared to the subtle yet dynamic richness of Richard Johnson's Cassius.
As for Brutus, a strong performance by the wonderful James Mason in the 1953 version, if not one which suggests a more calculating Brutus. And whereas Jason Robards's Brutus starts out terribly (a case of unfortunate miscasting) in the 1970 version, I think the spirit of his performance improves significantly, from his speech at Caesar's funeral onward, where his Brutus comes off as sincere (and thus ambiguous) in his reasoning; then, later, worn and world-weary in accepting his fate, and his strongest scenes in argument and reconciliation with, and final farewell to, Johnson's Cassius.
And, even though Heston is old to play Marc Antony in the newer version, that fact serves his portrayal well. His maturity yields a much more interesting and layered characterization (it shows more depth of sincerity AND political savvy) than that of Marlon Brando's overtly indignant, brash righteousness in the 1953 movie. I like Robert Vaughn's Casca and David Neal's Cinna in the 1970 film as well.
I think this version continues to receive an unfairly bad rap, and perhaps the 1953 version an unfairly easy pass of uncritical, blind approval. It's not about trashing one movie or character interpretation over another, but appreciating what is contrasting and noteworthy in various versions, and in their respective time periods of production and viewer expectations. After all, Shakespeare evokes richness and depth, not rigidity and dogma, of perspective and interpretation, yes? ;)