I think updating Shakespeare's plays to more modern eras can be a good idea, but attempts quite often fail due to "modernizing" of the original text into the current vernacular, adding modern slang terms and modern pop-political slants and such things. Happily, Richard Loncraine's version of 'Richard III' works very well, being set in a surreal WW2 era setting, more reminiscent of Terry Gilliam's 'Brazil' than London as it actually was at that time; an alternative world is suggested which adds a touch of nightmare-fantasy to the film.

I think this sort of intelligent interpretation of the text, placed into the mouths of people we can relate to more readily than we do to Elizabethan personages, is valuable and helps people otherwise unfamiliar with, or daunted by, Shakespeare's strange language is a good thing. All of life is covered in Shakespeare's plays, and after reading them it becomes apparent that nothing new has appeared in the world since, as far as fundamental life issues are concerned, making them invaluable tools in the history of literature as lynch-pins for people trying to navigate the shoals of human quirkiness without succumbing to depression and despair at the human condition. For instance, when O.J. Simpson's trial was going on I kept thinking of Othello and Desdemona, a tragedy of passion and murder being re-enacted for millions on the television.

Richard III is all about power and how it corrupts. Richard is presented as a Hitler-like character. It's an ugly story, yet the light of goodness shines through in the roles of the Duchess of York, Maggie Smith, and Queen Elizabeth, Annette Beining.

The cast is superb. I was put-off at first by Robert Downey Jr's Anthony, Earl of Rivers, because of his very-American accent. But Rivers has just returned from overseas, and given the setting, he could very well have returned from a long stint in New York. Once used to this he settled in nicely with the balance of the cast. Beining's accent is less noticeable. She is a fine, well-trained classical actress and knows what Shakespeare is all about. In the end she is a powerful foil to Ian McKellan's riveting Richard III.

The use of '40s swing tunes works wonderfully, I especially enjoyed the tune that accompanies Richard to his death, it's very funny, and horrifying all at once.

Even if you don't like Shakespeare I recommend this film. It's a great story and the technical aspects of it are top-drawer.

SPOILERS Every year the Royal Shakespeare Company produces some wonderful performances of the bards plays. With an entire catalogue of actors, the company has produced some of (if not all) of Britain's best actors for decades now. One of these actors is Sir Ian McKellen, and one year while touring as Richard III, Sir Ian had the idea to write a modern twist on the tale. Relocating the story of the evil, disfigured king to a fictional 1930's Fascist Britain, McKellen has produced a sublime piece of cinema with top notch acting and some great cinematography.

In 1930's Britain, the House of York is on the throne. Led by King Edward IV, the family are happy and content. That is, all except Edward's crippled brother Richard (McKellen). With eyes on the throne, Richard will kill and scheme to get what he desires the most.

The play of "Richard III" is perhaps one of Shakespeare's most well known plays. Used at the time as propaganda against enemies of the Tudor Dynasty, Shakespeare corrupted the public view of Richard so successfully that to this day his lies about Richard resonate in History discussions.

Relocation of the story of Richard from it's original time frame to 1930's Britain was a masterstroke by Sir Ian McKellen. Using Nazi style clothing (McKellen even wearing a Nazi uniform for the majority of the film), banners (replacing the Swastika with Richard's Boar) and military processions, McKellen has created a twisted past. This Britain, this Fascist land with it's royal family in their clothes of the era, is a disturbing place which sticks in the mind long after the end of the film.

Another novel approach to the story is the notion of certain members of the family being American. Designed to represent the social climbing, the idea works brilliantly, with Annette Bening being the best of the American's involved.

There are problems with this adaptation however. Whilst both minor, and with good motivation, they do ring true. Firstly, the dialogue is trimmed by half. Whilst necessary to prevent the film becoming a four hour epic, it always feels like a minor tragedy when people begin to amputate Shakespeare's works.

The second problem with McKellen's work is to do with the soundtrack. Whilst the idea of getting a Marlow poem and setting it to 1930's music is an absolutely wonderful idea, it does ruin the end of the film. At the beginning we hear the music and we forgive it as it sets the scene. Come the final few scenes of the film though and the music ruins the mood. The jolly beat of the tune is unnecessary and destroys the tone of the conclusion. In effect it would be like something with a reggae beat playing in the background as the main hero died in a love story. Basically, whether good music or not, it is an inappropriate choice for the moment in time.

There's minor awkward flaws in Sir Ian McKellen's "Richard III", but with so many outstanding acting performances, and some stunning use of the time era, these flaws are forgivable. Whether as good as older interpretations of the story or not, this version of the tale is completely underrated and well worth a viewing.

This film sets Shakespeare's Richard III in an alternative to WWII era England, where fascists and royalists maintain their own militias and play power games with kings and thrones. The first scene sets the tone for the entire film. A young officer is settling down to dinner with his dog chewing on a bone nearby. The building begins to shake and a low rumbling is heard. Soon enough, a tank erupts through the fireplace and stormtroopers charge in automatic rifles ablaze. Ian McKellan removes his gas mask and spouts a few lines of Shakespearean dialog.

The action and the intrigue never really let up, as the film follows Richard's (McKellan) rise to infamy and power. Neither does the Shakespearean dialog. Somehow the cast manages to make the dialog fit the action and setting effortlessly.

Richard III is jarringly strange - perhaps the most innovative of the recent Shakespeare updates - very well acted and directed. Although I recommend the film, I have to warn you - it's not for everyone.