Director: Paul Quinn
By Marilyn Ferdinand
The film community has been debating the appropriateness and relative merits of well-known filmmakers asking the public for financing through Kickstarter, most specifically, Spike Lee. It’s hard for film buffs to believe that directors as celebrated as Lee need a handout, but it is a fact that films out of the mainstream, no matter who wants to make them, often can’t get made. As confirmation that Kickstarter is a blessing to the individual voices Hollywood doesn’t want us to hear, H4 is a stunning example of our money being put to very good use.
This production starring its coexecutive producer, Harry Lennix, in the title role is an adapted version of Shakespeare’s Henry IV: Parts I and II featuring an African-American cast and set both in modern-day Los Angeles and on a stage. The stated purpose of the filmmakers is to use the plays, combined into one script, “to explore various aspects of African-American politics in the 20th and 21st centuries. . . . We believe that the themes and ideas contained in the first and second parts of King Henry IV are today as urgent as they were when Shakespeare was writing them.”
The credits for the film begin with the screenwriter Ayanna Thompson and dramaturg Jeff Steele, pointedly listing their PhD degrees as a marker that what will follow is a faithful adaptation. Indeed it is. The merging of the two plays, the first of which is the more historically comprehensive and successful, is a welcome compression that balances the gravitas of King Henry IV with the far more numerous scenes of his wayward son Hal (Amad Jackson)—the future Henry V—and the flamboyant Sir John Falstaff (Angus Macfayden). The compression creates a coming-of-age story that has universal applications, but that in the final scene, points specifically to Barack Obama becoming president of the United States.
The film opens with the sin of the father, a young man (Owiso Odera) when he murdered Richard II to take the crown. The ambush plays out like a gang hit, with Richard being lured into a gangway and ambushed by Henry and his men. With a parting shot, Richard’s head butt sends a point of his crown into Henry’s eye, an interesting metaphor for the blind ambition of the usurper. This scene will repeat throughout the film, a haunting memory for Henry as his own crown comes under threat from Richard’s kin and followers, especially Henry “Hotspur” Percy (Geno Monteiro). His feelings of vulnerability are amplified by the wastrel life Prince Hal is leading.
Hal spends most of his time in a graffiti-laden bar with the thieving glutton Falstaff, one of only a couple of white characters in the film. A perfect exemplar of cowardice and sloth, Falstaff is a comic figure who tends to steal the show every time these plays are produced. MacFayden carries on in that grand tradition with a performance that is delightful and even somewhat innocent, like the more harmless version of Fagin in the musical Oliver!. As a figure of corruption in this context, however, he can be seen as American consumerist culture, and stretching the metaphor even further, a mindlessly malevolent force that keeps black men down with the hefty weight of centuries of white oppression. I would add, however, that there is nothing terribly polemical about the film; in fact, it took me a long time to tease any kind of modern political agenda out of it, and I wouldn’t go to the mat to defend this observation. Above all, the film simply glories in the language and intrigues of one of Shakespeare’s most beloved histories with actors who not only understand the demands of the plays, but also deliver a compellingly watchable drama.
I enjoyed some of the wonderful details layered into this film. Prince Hal wears a t-shirt stenciled with “Rex” on the back, and the stage combat between a newly mature Hal and Percy is authentic in terms of weaponry and also highly theatrical. I enjoyed that the Chief Justice was played by a black woman, the marvelous Victoria Gabrielle Platt, thus laying to rest the prejudice that strong black women are a threat to black masculinity. When Henry V raises her up instead of banishing her for daring to arrest him in the past, it is a proud moment for both.
The film is a bit disjointed, and with the large cast of characters hardly delineated in this shorthanded version of the plays, I was rather confused about who was doing what to whom. For example, the rebel Edmund Mortimer (Kevin Yarbrough) is much spoken about, but only appears late in the film in an abbreviated scene in which he and his coconspirators meet with Hal to discuss terms. This may be true to the plays, but feels abrupt, with a predictable conclusion that requires no knowledge of history or the plays to suss out.
Without question, Harry Lennix is the strong backbone of this production, an actor in complete command of his craft with the regal bearing of a king. When he bellows at Hal to make something of himself, to distinguish himself in combat against a comer Henry would rather have had as a son, the sting has force. When he upbraids Hal for taking his crown off the pillow of Henry’s deathbed in advance of Henry’s death, the fearful wails of a dejected father are brittle and haunting. Lennix, whose impressive performance in Mr. Sophistication was a standout at last year’s CIFF, provides a presence that is felt in every scene, though his appearances are more supporting than central. His strong guiding hand is what makes H4 such a triumph. This movie should be a must-see on your festival schedule, and is an achievement for which everyone who contributed to its making, including the Kickstarter donors, should be proud.
H4 screens Saturday, October 19, 8:30 p.m., and Sunday, October 20, 2:00 p.m. at the AMC River East 21, 322 E. Illinois St. in Chicago. Producers Albena Dodeva and Danny Green and Executive Producers Harry Lennix and Giovanni Zelko are scheduled to attend both screenings. www.chicagofilmfestival.com
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