Chimes at Midnight (1966)

 Orson Welles’s “Chimes at Midnight”

Thematic Elements: 

In The Chimes at Midnight, Orson Welles uses the famous Shakespearean character John Falstaff as a voice box for his own philosophies and outlooks. Even though every line spoken in the film was written by Shakespeare, the viewpoints are very much Welles. Much like Welles at this point in his life, Falstaff was a fat and charming man who lived well, was at odds with the powers that be, constantly in debt, and knew of disappointments and lost friendships. The characters of Falstaff plays as a down to earth philosopher amongst the common people. He philosophizes on power, the honor of war, friendship, and living life well. The character of Falstaff adds grounded perspective to a world full of chaos, brutality, and power. However, the character of Falstaff is also a tragic one. He loves and cares too much about the people around him, especially Hal. However, that love is betrayed, and Falstaff must face up to what he’s known all along; he is alone in this world. The film seems to pervade a sense that all these characters are very alone, even though they paradoxically are never alone. It gives the feeling that the way you perceive the world is only unique to you, that even if you have friends who can accompany your sentiments, your philosophies keep you alone. 

Camerawork: 

Welles uses juxtaposition to convey the innate difference between the two different classes of people in this story. He uses vast and towering interiors to show the grandeur of the powerful castle, however this also displays its total emptiness and hollowness. This contrasts greatly with the low ceilings and cluttered rooms of the bawdy houses the commers live in. This suggests and more cramped and claustrophobic setting to display a sense of not being able to escape this setting, nor being able to be alone because of it. However, this also suggests that the lower characters have more life and their life is more filled up with people and togetherness in stark contrast with the hollowness and emptiness of the castle. Welles also has a 10 minutes battle sequence that displays the true chaos and brutality of war, a scene which has been studied for decades after. Welles uses all these techniques to tell a story this Shakespearean story of finding meaning and friendship in a world of chaos, brutality, and unfair class structure.  

Best Shot: 

The best shot of the film is one of it’s final sequences. Falstaff rushes in to congratulate and revel in Hal’s ascension to kinghood. However, his old friend turns to him and looks at his with coldness. The low angle showing Hal towering above us, showing the towering ceiling of the castle above him. Hal is no longer a friend to Falstaff, he has now ascended above him. He now views Falstaff as beneath him; he now views everyone as beneath him, which why we can only look up to him in the frame. His empty hollow heart now matches the towering emptiness of the castle he rules over.