The crowning achievement of Orson Welles’s later film career, Chimes at Midnight returns to the screen after being unavailable for decades. This brilliantly crafted Shakespeare adaptation was the culmination of Welles’s lifelong obsession with the Bard’s ultimate rapscallion, Sir John Falstaff, the loyal, often soused childhood friend of King Henry IV’s wayward son, Prince Hal. Appearing in several plays as a comic supporting figure, Falstaff is here the main event: a robustly funny and ultimately tragic screen antihero, played by Welles with lumbering grace. Integrating elements from both Henry IV plays as well as Richard II, Henry V, and The Merry Wives of Windsor, Welles created an unorthodox Shakespeare film that is also a gritty period piece, one that he called “a lament . . . for the death of Merrie England.” Poetic, philosophical, and visceral—with a kinetic battle sequence centerpiece as impressive as anything else Welles directed—Chimes at Midnight is as monumental as the figure at its center.
Seattle, 1984. Taking their camera to the streets of what was supposedly America’s most livable city, filmmaker Martin Bell, photographer Mary Ellen Mark, and journalist Cheryl McCall set out to tell the stories of those society had left behind: homeless and runaway teenagers living on the city’s margins
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