Movie |
England | Based On True Story
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Feature Films | 1946 | Laurence
Best Actor | 1946 | Laurence
Best Actor | 1946 | Laurence
Best Foreign Language Film | 1949 | Laurence
Best Foreign Director Regista del Miglior Film Straniero | 1950 | Laurence
1947 | Laurence
Best Picture | 1947
Best Actor in a Leading Role | 1947 | Laurence
Best Art DirectionInterior Decoration Color | 1947
Best Music Scoring of a Dramatic or Comedy Picture | 1947
The filming of a battle scene was stopped in order for the company to watch, while overhead, a group of British fighters attacked a formation of German bombers on their way to bomb London. When the real battle passed out of sight, the movie battle resumed filming.
The opening model shot of London was huge, 50 feet by 70 feet in size, and made of plaster. It took four months to construct.
As a tribute to his abilities as a director, and uncertain over his own unproved directing abilities, Sir Laurence Olivier originally invited William Wyler, who had directed him in Wuthering Heights (1939), to direct. It was Wyler who Olivier always credited with teaching him how to give a more subtle performance in movies, and with giving him more respect for the art of acting in movies. Wyler, however, declined, saying, "If it's William Shakespeare, it must be you" who directs the movie. Sir Carol Reed and Sir Ralph Richardson told him the same thing.
The most significant cuts to the text, the ones which generally provoke criticism at Henry as a King, were reputedly made at Prime Minister Sir Winston Churchill's request.
Because wartime rationing made supplies of metal scarce, all the chain-mail armor in the movie was made of hand knitted grey wool.
"[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, leashed in like hounds, would famine, word, and fire crouch for employment. But pardon, gentles all, the flat unraised spirits that hath dared on this unworthy scaffold to bring forth so great an object: can this cockpit hold the vasty fields of France? or may we cram within this wooden O [gesturing around at the stage] Chorus: the very casques that did affright the air at Agincourt? On your imaginary forces work: Suppose within the girdle of these walls are now confined two mighty monarchies, whose high upreared and abutting fronts the perilous narrow ocean parts asunder: Piece out our imperfections with your thoughts: Think when we talk of horses that you see them printing their proud hoofs in the receiving earth; for 'tis your thoughts that now must deck our kings, carry them here and there, jumping o'er times, turning the accomplishment of many years into an hour-glass: for the which supply, admit me Chorus to this history; who, prologue-like, your humble patience pray gently to hear, kindly to judge, our play."
"King Henry V of England: We charge you in the name of God, take heed how you awake our sleeping sword of war."
