The lurcher birthright of Chimes at Midnight is devotedly to credit, postulated the intensely personal reading of English history and literature that emerges from an incongruous Spanish/Swiss co-production of a flavour of Falstaff culled from five Shakespearean texts and Holinshed’s Chronicles. Infused with a politically sharp nostalgia for Merrie England, this elegiac tragi-comedy comes over as uncompromisingly modern pageant, from its playful ruptures of standard cloud grammar to its characterisation of Falstaff as ideal at the crossroads of depiction, a spiritual and thematic precursor of Peckinpah’s Cable Hogue. Welles waddles via the foreground with an eye on his own problems of contempt, while behind the camera he conjures a Stygian masterpiece, shot through with slapstick and sorrow. Magnetic.
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