Plot
We first see a panorama of London in 1600. We then travel to the Globe Theatre where the audience is being seated. The Chorus (Leslie Banks) enters and implores the audience to use their imagination to visualize the setting of the play. We then see, up on a balcony, two clergymen, The Archbishop of Canterbury (Felix Aylmer), and the Bishop of Ely (Robert Helpmann) discussing the current affairs of state. Henry (Laurence Olivier) then enters, and discusses with his nobles the state of France. A gift is delivered to Henry from the French Dauphin. The gift turns out to be tennis balls. Offended, Henry sends the French ambassador away, and prepares to claim the French throne, a throne that he believes is rightfully his.
We then see characters from Shakespeare's Henry IV plays: Nym (Frederick Cooper), Bardolph (Roy Emerton), and Pistol (Robert Newton). These characters resolve to join Henry's army, however, before they do, Falstaff (George Robey), another returning character, and one of the King's former mentors, dies. At this point, the film gradually ceases to be located in the Globe Theatre; instead the scenes are performed in stylized film sets reminiscent of a medieval Book of Hours.
At Southampton, the fleet debarks, and lands in France, beginning a campaign that tears through France to Harfleur, where Henry's forces lay siege. At the siege, Henry delivers his first rousing speech to his troops: "Once more... unto the breach! Dear friends, once more!" The troops charge on Harfleur, and take it as their own.
The troops then march to Agincourt, meeting the French forces. Before the impending battle, Henry wanders around the camp in disguise, to find out what the men think of him. The next day, before the battle, Henry delivers his famous Saint Crispin's Day speech.
The Battle of Agincourt then commences. This sequence is filmed on location in a realist style, unlike the stylized sets seen previously; however, the Technicolor is still very bright and somewhat larger than life, unlike the same scene in the later Kenneth Branagh version. The English archers let forth a volley of arrows that cuts deeply into the French numbers. The French, weighed down by their heavy armour, are caught in the fresh mud of the field, and are bogged down, which gives the English troops ample opportunity to ride out and fight them on equal terms. The French Dauphin (Max Adrian), seeing this disadvantage, watches as several bodyguards and noblemen including the Constable of France ride toward the English camp and kills all the boys and squires, prompting a tearful Fluellen to state that 'this is expressly against the law of arms'. Henry is angered by this and rides out to meet the French Constable (Leo Genn). Fighting each other, one-on-one, swords in hand, the Constable strikes Henry in the head, shaking him. Henry turns and continues to fight the Constable, who sheaths his sword in favour of a mace. The Constable then strikes Henry's hand, causing him to drop his sword. Henry, now disarmed, lashes out and strikes the Constable in the face with his gauntlet, causing him to fall to the ground and presumably killing him.
The battle is won. Henry then proceeds to court the Princess Katherine (Renee Asherson); the film now returns to the stylized sets. Part of the music known as the 'Canteloube - "Bailero' can be heard in the background. Henry woos Katherine, and France is now under the control of England, as the French King, Charles VI adopts Henry as his successor. In the final moments of the play, we return to the Globe Theatre again, and the actors take their bows.
Read more about this topic: Henry V (1944 film)
Famous quotes containing the word plot:
“We have defined a story as a narrative of events arranged in their time-sequence. A plot is also a narrative of events, the emphasis falling on causality. “The king died and then the queen died” is a story. “The king died, and then the queen died of grief” is a plot. The time sequence is preserved, but the sense of causality overshadows it.”
—E.M. (Edward Morgan)
“After I discovered the real life of mothers bore little resemblance to the plot outlined in most of the books and articles I’d read, I started relying on the expert advice of other mothers—especially those with sons a few years older than mine. This great body of knowledge is essentially an oral history, because anyone engaged in motherhood on a daily basis has no time to write an advice book about it.”
—Mary Kay Blakely (20th century)
“The plot was most interesting. It belonged to no particular age, people, or country, and was perhaps the more delightful on that account, as nobody’s previous information could afford the remotest glimmering of what would ever come of it.”
—Charles Dickens (1812–1870)