Henry V (1989)

Director:

Kenneth Branagh

Writers:

William Shakespeare (play)
Kenneth Branagh (adaptation)

Release Date:

8 November 1989 (USA)

Genre:

Action | Drama | History | Romance | War

Tagline:

The great adventure of a king who defied the odds to prove himself a man.

Plot:

The gritty adaption of William Shakespeare's play about the English King's bloody conquest of France.

Plot Keywords:

King | France | Battle | England | King Of France

Awards:

Won Oscar. Another 9 wins & 7 nominations

Cast

Derek Jacobi	...	Chorus
Kenneth Branagh	...	Henry V
Simon Shepherd	...	Gloucester
James Larkin	...	Bedford
Brian Blessed	...	Exeter
James Simmons	...	York
Charles Kay	...	Canterbury
Alec McCowen	...	Ely
Fabian Cartwright	...	Cambridge
Stephen Simms	...	Scroop
Jay Villiers	...	Grey
Edward Jewesbury	...	Erpingham
Ian Holm	...	Fluellen
Danny Webb	...	Gower (as Daniel Webb)
Jimmy Yuill	...	Jamy
John Sessions	...	Macmorris
Shaun Prendergast	...	Bates
Patrick Doyle	...	Court
Michael Williams	...	Williams
Richard Briers	...	Bardolph
Geoffrey Hutchings	...	Nym
Robert Stephens	...	Pistol
Robbie Coltrane	...	Falstaff
Christian Bale	...	Boy
Geraldine McEwan	...	Alice
Judi Dench	...	Mistress Quickly
Paul Scofield	...	King Charles VI of France
Michael Maloney	...	Dauphin
Harold Innocent	...	Burgundy
Richard Clifford	...	Orleans
Colin Hurley	...	Grandpré
Richard Easton	...	Constable
Christopher Ravenscroft	...	Montjoy
Emma Thompson	...	Katherine
David Lloyd Meredith	...	Governor of Harfleur
David Parfitt	...	Messenger
Nicholas Ferguson	...	Warwick
Tom Whitehouse	...	Talbot
Nigel Greaves	...	Berri
Julian Gartside	...	Bretagne
Mark Inman	...	1st Soldier
Chris Armstrong	...	2nd Soldier
rest of cast listed alphabetically:
Paul Gregory	...	Westmoreland
Callum Yuill	...	Child (as Calum Yuill)
David Speed	...	Soldier (uncredited)

Directed by
Kenneth Branagh

Writing credits
William Shakespeare		(play "The Chronicle History of King Henry the Fifth")
Kenneth Branagh		(adaptation)

Produced by
Stephen Evans	....	executive producer
David Parfitt	....	associate producer
Bruce Sharman	....	producer

Original Music by
Patrick Doyle

Cinematography by
Kenneth MacMillan		(director of photography)

Film Editing by
Michael Bradsell

Casting by
Debbie McWilliams

Production Design by
Tim Harvey

Art Direction by
Martin Childs
Norman Dorme		(supervising art director)
John King

Costume Design by
Phyllis Dalton

Makeup Department
Ronnie Cogan	....	assistant hairdresser
Peter Frampton	....	makeup supervisor
Stephanie Kaye	....	assistant hairdresser
Beryl Lerman	....	makeup artist
Ken Lintott	....	makeup artist
Sue Love	....	hairdresser

Production Management
Vincent Winter	....	production supervisor

Second Unit Director or Assistant Director
Vic Armstrong	....	second unit director
Ian Hickinbotham	....	second assistant director
Adam Somner	....	third assistant director
Michael Stevenson	....	second assistant director
David Tringham	....	assistant director

Art Department
Alan Bailey	....	prop man
Celia Bobak	....	buyer
Alan Brooks	....	supervising carpenter
Don Clayson	....	supervising plasterer
Derek Creedon	....	prop store keeper
Peter Dorme	....	art department assistant
Kavin Hall	....	supervising painter
Gary Handley	....	drapes master
Ron Higgins	....	chargehand dressing prop man
Steven Lawrence	....	junior draughtsman
Richard Lyon	....	construction storeman
Jim Morahan	....	draughtsman
Allan Moss	....	modeller
Wesley Peppiatt	....	stand-by chargehand prop man
Michael Redding	....	construction coordinator
Graham Stickley	....	prop man
Graham Sumner	....	property master
Peter Wallace	....	supervising rigger
Gary Wiffen	....	stand-by prop man
Kenny Wilson	....	supervising stagehand (as Ken Wilson)

Sound Department
Campbell Askew	....	dubbing editor
David Crozier	....	sound mixer
Robert Gavin	....	assistant dialogue editor
Dominic Lester	....	assistant dubbing mixer
Gerard McCann	....	assistant dubbing editor
Robin O'Donoghue	....	dubbing mixer
John Poyner	....	dialogue editor
Andrew Sissons	....	boom operator
Tim Worth	....	sound maintenance

Special Effects by
Paul Clancy	....	assistant special effects technician
Terry Glass	....	senior effects technician
Darrell Guyon	....	special effects technician
Matthew Harlow	....	special effects trainee
David Watson	....	senior effects technician
Ian Wingrove	....	special effects supervisor
Trevor Wood	....	senior effects technician

Visual Effects by
Simon Dowling	....	main title designer (uncredited)

Stunts
Vic Armstrong	....	stunt coordinator
Dickey Beer	....	stunts (uncredited)
Ken Buckle	....	stunts (uncredited)
Nick Gillard	....	stunts (uncredited)

Camera and Electrical Department
Sophie Baker	....	still photographer
Tom Brown	....	best boy
Peter Butler	....	camera grip
Trevor Coop	....	camera operator
John Deaton	....	focus puller
Simon Finney	....	clapper loader
Adam Lee	....	camera trainee
Steve Mcleod	....	gaffer
Malcolm Vinson	....	camera operator
John Deaton	....	first assistant camera (uncredited)

Costume and Wardrobe Department
John Birkinshaw	....	costume assistant
Jane Clive	....	costume assistant
Susan Coates	....	costume assistant
Amelia Davies	....	wardrobe mistress
Stephen Miles	....	assistant costume designer
Don Mothersill	....	costume assistant
Richard Pointing	....	costume supervisor
Vernon White	....	costume assistant

Editorial Department
Kevin Ahern	....	assistant editor
Michael Parfitt	....	editor trainee
Bob Wenokur	....	studio post-production representative (uncredited)

Music Department
Lawrence Ashmore	....	orchestrator
Chris Dibble	....	music recording engineer (as Christopher Dibble)
Stephen Hill	....	chorus master: The Stephen Hill Singers
Simon Rattle	....	conductor: City of Birmingham Symphony Orchestra
Graham Sutton	....	music editor
Peter Thomas	....	orchestra leader

Transportation Department
Barry Chintrens	....	unit driver
John Hollywood	....	unit driver
Terry Pritchard	....	unit driver

Other crew
David Allistone	....	machinist
Bi Benton	....	production coordinator
Michael Buckley	....	assistant executive of orchestra: The City of Birmingham Symphony Orchestra
Hugh Cruttwell	....	technical advisor
Sheala Daniell	....	assistant accountant
Marilyn Eardley	....	assistant to director
Christine Hathway	....	publicity assistant
Lil Heyman	....	unit runner
Sally Hoskins	....	unit runner
Dr. Russell Jackson	....	technical advisor (as Russell Jackson)
Ron Phipps	....	production accountant
Iona Price	....	assistant to producer
Al Senter	....	publicity writer
Edward Smith	....	chief executive of orchestra: The City of Birmingham Symphony Orchestra
Peter Thompson	....	press representative
Li Chin Tye	....	unit nurse
Betty Williams	....	assistant accountant
Annie Wotton	....	script supervisor
Anya Noakes	....	release publicist (uncredited)

Thanks
Penny Brownjohn	....	special thanks
Harry Fuller	....	special thanks
Gay Hamilton	....	special thanks
Eddie Healey	....	special thanks
Janet Jefferies	....	special thanks
John McMichael	....	special thanks
Dearbhla Molloy	....	special thanks
Abigail Reynolds	....	special thanks
Ethna Roddy	....	special thanks
Jane Snowden	....	special thanks
Sophie Thompson	....	special thanks
Shaun Webb	....	special thanks
David Wickins	....	special thanks
Nicola Wright	....	special thanks

Production Companies

• British Broadcasting Corporation (BBC) (as the BBC)
• Curzon Film Distributors
• Renaissance Films

Distributors

• Samuel Goldwyn Company, The (1989) (USA) (theatrical)
• Public Broadcasting Service (PBS) (1992) (USA) (TV) (broadcast premiere)
• AFMD (1991) (France) (theatrical)
• Aquarius TV (1998) (Greece) (DVD)
• Curzon Film Distributors
• Europa Filmes (2003) (Brazil) (DVD)
• Hallmark Home Entertainment
• Indies Home Entertainment (2002) (Netherlands) (DVD)
• MGM/UA Home Entertainment (USA) (DVD)
• Paris Vídeo (Brazil) (VHS)
• Transmundo Films (Argentina)
• Transmundo Home Video (THV) (Argentina) (video)

Other Companies

• Attwoods  special thanks
• Berman's and Nathan's  costumes supplied by (as Bermans & Nathans Ltd)
• C.T.S. Recording Theatre  music recorded at
• Caird Group, The  special thanks (as The Caird Group)
• Chesterfield Properties  special thanks
• City of Birmingham Symphony Orchestra  music performed by
• EMI  original soundtrack recording available on
• Expedier Leisure  special thanks
• Grip House  grip equipment (as Grip House London)
• H. Young Holdings  special thanks
• Hillsdown Holdings  special thanks
• Kodak  originated on Eastman Colour Film and audio tape by
• Lee Lighting  lighting equipment (as Lee Lighting Ltd.)
• Leisure Investments  special thanks
• Majestic Films International  sales representation (as Majestic Films International, London)
• National Trust, The  special thanks (as The National Trust)
• Oakwood Group  special thanks
• Samuelson Film Service  cameras by (as Samuelsons London)
• Spelthorne Borough Council Community Services  special thanks
• Stadium Developments  special thanks
• Studios CTS  music recorded at
• Thames Water Authority  special thanks
• The Optical Partnership  titles and optical effects
• Twickenham Film Studios  re-recorded at

MPAA:

Rated PG-13 for a bloody battle.

Runtime:

137 min

Country:

UK

Language:

English | French

Color:

Color (Technicolor)

Aspect Ratio:

1.85 : 1

Sound Mix:

Dolby

Certification:

Iceland:12 | Netherlands:16 | South Korea:12 | Brazil:Livre | Argentina:13 | Australia:PG | Chile:14 | Germany:12 | Singapore:PG | Sweden:11 | UK:PG | USA:PG-13 | West Germany:12

Filming Locations:

Crowlink, East Sussex, England, UK

Company:

British Broadcasting Corporation (BBC)

Trivia:

Contains a flashback scene to (a paraphrase of) Act 2, scene 4 of Shakespeare's play Henry IV, Part 1, in which Falstaff jokingly tells Prince Hal (later to become King Henry V) that when he is king, he may stop socializing with all their other friends, but he shouldn't banish Falstaff himself from his company: "banish plump Jack, and banish all the world."

Goofs:

Revealing mistakes: One of the "dead" soldiers lying in the field after a battle winks.

Quotes:

[first lines]
Chorus: O! for a Muse of fire, that would ascend The brightest heaven of invention; A kingdom for a stage, princes to act and monarchs to behold the swelling scene. Then should the war-like Harry, like himself, assume the port of Mars; and at his heels, Leash'd in like hounds, should famine, sword, and fire crouch for employment.

Movie Connections:

References The Chronicle History of King Henry the Fift with His Battell Fought at Agincourt in France (1944)

Mastepiece

This film is a chef d'oeuvre, masterpiece, magnum opus, perfection. The battle scenes are exquisite, the soundtrack is spectacular. Mud & blood, sweat & tears, man & horse, all become one powerful force on the field of Agincourt.

Branagh, and the people he surrounds himself with, breathe life into Shakespeare's words.

When you watch Branagh, as Henry, deliver the Feast Of St. Crispian's Day speech to his weary band of brothers, you will be swept up in his passion, and find yourself cheering "let us fight" at your TV screen.

Branagh speaks the language of Shakespeare fluidly, naturally. It is the greatest language he knows, and upon entering his world, you too will know the glory of Shakespeare.

Non nobis domine, domine Non nobis domine Sed nomini, sed nomini Tu lauda gloriam

"O for a Muse of fire, that would ascend The brightest heaven of invention! A kingdom for a stage, princes to act, And monarchs to behold the swelling scene!"

"And Crispin Crispian shall ne'er go by, From this day to the ending of the world, But we in it shall be remember'd; We few, we happy few, we band of brothers; For he to-day that sheds his blood with me Shall be my brother"

I love Branagh's Henry V because he incorporated all of Henry V's traits - the roguishly witty Prince Hal, the warmonger, the imperialist, the opportunist, the master rhetorician, the man with a miraculous ability to reason in divinity and to debate in commonwealth affairs and to exhibit military prowess, his piety, his administrative sagacity, political cunning, arrogance, his cruelty, his affability, all in all Branagh masterfully wears all the masks of Prince Hal/Henry V that Shakespeare created.

I love Branagh's version because he recreated as much as he could of the play and transformed it into an artistic cinematic presentation (the set designs and that battle sequence at Agincourt and the rich deep hues of burgundy and brown and sumptuous plums) instead of a staged presentation, because he remained true to Shakespeare's ambivalence towards Henry by allowing viewers to be critical of Henry's choices, he preserved most of the dialogue and presented the scenes in order, because of Branagh's unparalleled recitation of Shakespearean dialogue, and because of Patrick Doyle's rapturous, Proustian music which transports listeners to a paradoxical state of paradisial elysium and infernal, torturous pain, evoking times and places and battles and lives long forgotten, a remembrance of things past, a memories forever faded into royal genealogical charts and myths and legends.

The play is theatrically limited because the events in the play cannot be adequately represented on stage, which is one reason why Henry V is ironically one of the most theatrically expressive plays to perform - the production crew is forced to transcend theatrical convention in order to faithfully represent the play.

Theatre depends on synecdoche, meaning that what is presented on stage only represents part of the whole, and this is because of theatrical restrictions. What we watch is a shadow or illusion of the whole.

In Henry V, Shakespeare expected the audience to actively participate in the re-enactment of the events being staged.

Shakespeare addresses this throughout the Prologue and Chorus of the play, by constantly apologizing about the inadequate, confining medium being used to portray the spectacle before us.

Henry V is the crowning achievement of his Henriad (which spans from Richard II to Richard III) and of the English history play in general, and it is grandiosely resplendent with thousands of men and horses, full-rigged ships, the English fleet leaving Southampton and traversing the English Channel, and the brutal sacking of an entire town whose sacking is explicitly described in the dialogue - the firing of cannons, scaling ladders, town walls that must be physically breached on stage, characters that appear on the walls looking down at the siege, the town reduced to rubble, and the King boaring through the town with a massive army to make an extravagantly celebratory and unchallenged exit through the gates (is there any room on state for a set of gates?) of Harfleur.

Thank you Branagh for enriching our imaginations.