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Chimes at Midnight

Chimes at Midnight

Comedy · Drama · History · 1965

Henry IV usurps the English throne, sets in motion the factious War of the Roses and now faces a rebellion led by Northumberland scion Hotspur. Henry's heir, Prince Hal, is a ne'er-do-well carouser who drinks and causes mischief with his low-class friends, especially his rotund father figure, John Falstaff. To redeem his title, Hal may have to choose between allegiance to his real father and loyalty to his friend.

Movie details

Chimes at Midnight

“A Distinguished Company Breathes Life Into Shakespeare’s Lusty Age of FALSTAFF”

1965 Comedy · Drama · History 1h 55m

Critical arithmetic

One number, for now.

TMDB

7.2 / 10

Community rating

Henry IV usurps the English throne, sets in motion the factious War of the Roses and now faces a rebellion led by Northumberland scion Hotspur. Henry's heir, Prince Hal, is a ne'er-do-well carouser who drinks and causes mischief with his low-class friends, especially his rotund father figure, John Falstaff. To redeem his title, Hal may have to choose between allegiance to his real father and loyalty to his friend.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Chimes at Midnight?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Orson Welles

Written by

Orson Welles

Orson Welles

Orson Welles

Falstaff

Keith Baxter

Keith Baxter

Prince Hal

John Gielgud

John Gielgud

Henry IV

Jeanne Moreau

Jeanne Moreau

Doll Tearsheet

Margaret Rutherford

Margaret Rutherford

Mistress Quickly

Marina Vlady

Marina Vlady

Kate Percy

Walter Chiari

Walter Chiari

Mr. Silence

Court is in session

Put Chimes at Midnight on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.