Theatre review: Jude Law gives us a human Henry V

Law is as modern in his way as Richard Burton was 50 years ago

Michael Coveney
Friday 06 December 2013 14:46 EST
Comments

Your support helps us to tell the story

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.

At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.

The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.

Your support makes all the difference.

Laurence Olivier’s 1944 film of Henry V was commissioned as propaganda and cheered a nation back into battle. But as Jude Law’s performance proves, this is a play about the underside of war, not so much warmongering itself, and it’s striking that, like all his best predecessors in the role, Law humanises Henry as a man of the people.

There’s one scary moment when he commands his men to kill all their prisoners (the line was cut by Olivier and Kenneth Branagh in their films); but this is a pragmatic reaction to maximise his limited resources, his happy few, in the campaign.

In fact, you could trace what Law does back to Richard Burton at the Old Vic in 1955. Kenneth Tynan lauded a cunning warrior, stocky and astute, unafraid of harshness or of curling the royal lip; he was true, watchful and ruthless.

Exactly the same is the case with Law, whose vitality and subtlety suggests an elaboration on his much angrier and monotonously sullen Hamlet four years ago. He delivers the difficult “Upon the King” soliloquy on the eve of Agincourt with real feeling, exemplary control and intellectual fervour.

Since Burton, notable Henrys at the Royal Shakespeare Company have included Ian Holm, Alan Howard, Branagh and Michael Sheen. The first two were part of history play cycles, so you could see how Prince Hal morphed into monarchy. Holm was mesmerising, chunky and matter-of-fact in the great Wars of the Roses cycle in 1964, while Howard, 10 years later, took more readily to majesty, with a sort of pained grandeur.

Law is light years away from that, far closer to Branagh’s 1984 Gulf War RSC reading, the template for his 1989 movie, as well as the elfin, bright-eyed musical leader of Michael Sheen at the RSC, in 1997.

Law is as modern in his way as Burton was 50 years ago, and his charming wooing of his French bride, Catherine, echoes what today’s Prince William, who’s served his time in the forces, may well have said to his own royal bride: “We are the makers of manners, Kate.”

Join our commenting forum

Join thought-provoking conversations, follow other Independent readers and see their replies

Comments

Thank you for registering

Please refresh the page or navigate to another page on the site to be automatically logged inPlease refresh your browser to be logged in