Perspectives Interpreted In Looking For Richard Collide With Those In King

To what extent do the perspectives explored in Looking for Richard collide with those in King Richard III?

As social paradigms evolve, texts hold less significance than static truths -- serving as a dynamic source of interpretive complexity, igniting new perspectives in regards to both context and relevance. William Shakespeare's play ‘Richard III’ (R3)(1597) is renowned for its complex exploration of power, ambition, and morality, designed to incorporate Elizabethan society’s morals and values. On the contrary, Al Pacino’s docudrama ‘Looking for Richard’ (LFR) (1996) highlights how social frameworks develop and change, hence the differentiating interpretations surrounding ‘Richard’, strengthening its relevance to make Shakespeare more accessible

Through Richard’s characterization, Shakespeare highlights the relationship between Richard's individual agency and societal expectations, allowing an Elizabethan audience to identify with the play's portrayal of the villain. Contrarily, in LFR, Pacino questions who is suited to interpret the play. In an argument with fellow screenplay writer Frederick Kimball, Pacino asserts “A person has a right to an opinion. It’s only an opinion, he said. It’s never a question of someone being right or wrong” emphasising that interpretations are not objective truths; they shape understanding. This approach allows modern audiences to engage with differing perspectives free from traditional paradigms, enhancing their comprehension and appreciation of the film. Specifically, the interpretations of Richard’s characterisation grant audiences the ability to connect with his character. In Act One, Al Pacino’s dramatic monologue, “And me? I’m not the king, I want to be the king. It’s that simple,” illustrates a direct expression of ambition and desire for power, allowing Pacino to intimately

Conversely, LFR shifts focus from religious and political themes to Richard’s skillful manipulation as a character, depicting his downfall as a result of personal flaws rather than divine intervention, allowing contemporary audiences to understand Richard’s complexities beyond moral binaries, thus deepening the understanding of his character and motivations. The motif of sleep and dreams in R3 illustrates Richard’s psychological and moral turmoil. The curse from the ghosts of Richard’s Victims –”Bloody and guilty, guilty awake... Now fills thy sleep with perturbations...” – reflects his haunted conscience, suggesting that his actions disrupt the natural order and foreshadow Richard’s defeat. The juxtaposition of Richmond's blessings – “Doth comfort thee in sleep... Dream of success...”– symbolises the inevitable restoration of moral balance. Shakespeare uses this contrast to evoke sympathy for Richard’s victims, highlighting the consequences of his unnatural actions. Furthermore, the play’s ending lines “Now civil wounds are stopped; peace lives again./ That she may long live here, God say amen.” utilities the rhyming couplet to enforce a teleological resolution, symbolising the restoration of the natural world. The invocation “God says amen”