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= = = Pre @-@ production = = =
In 1964 , Welles met and befriended Spanish film producer Emiliano Piedra , who wanted to work with him . Piedra did not think a Shakespearian film was marketable enough and proposed that Welles make a version of Treasure Island instead . Welles agreed to this on condition that he could simultaneously make Chimes at Midnight , and Piedra agreed not knowing that Welles had no intention of making Treasure Island . Although some B @-@ roll footage of the Alicante departing from port was shot early in the production , no scenes from Treasure Island were ever shot or even scripted . Welles got away with this trick throughout pre @-@ production by building sets that could be used in both films , such as Mistress <unk> 's Boar 's Head Tavern , which would double as the Admiral Benbow Inn . Welles also cast each actor in both films , casting himself as Long John Silver , Baxter as Dr. Livesey , Beckley as Israel Hands and Gielgud as Squire Trelawney . Ironically Welles would eventually play Long John Silver in the unrelated 1972 film version of Treasure Island .
Welles said that the Boar 's Head Tavern was the only full set built for the film , and the other sets were simply dressed or decorated on location . Welles stated that he designed , painted and blow @-@ torched the set , and designed all of the film 's costumes . Early in pre @-@ production Welles was approached by Anthony Perkins to play Prince Hal , but Welles had already promised the role to Keith Baxter . Hilton Edwards was initially cast as Justice Silence , but was replaced after he became ill . The title Chimes at Midnight derives from Henry IV , Part 2 , where in response to Justice Shallow 's reminiscing of their long @-@ past school days , Falstaff states : " We have heard the chimes at midnight , Master Shallow " . Welles scholar Bridget Gellert Lyons said that the film 's title , " which is given further resonance by the repeated intoning of bells throughout the film , is associated for the audience with sadness and mortality more than youthful <unk> . "
= = = Filming = = =
The film was shot in Spain from September 1964 until April 1965 , with a break in filming from late December until late February . Welles 's limitations on the film included a budget of $ 800 @,@ 000 and actors Jeanne Moreau and John Gielgud being available for five and ten days respectively , while Margaret Rutherford was only available for four weeks . Welles later joked that during one scene which included seven principal characters , none of the actors were available and stand @-@ ins were used for over @-@ the @-@ shoulder shots of all seven characters . Filming began in <unk> and included all of John Gielgud 's scenes . Welles then traveled to Cardona , where the Royal Court scenes and Marina Vlady 's scenes were shot , and to Madrid 's Casa de Campo Park , where the <unk> robbery scene was filmed . Madrid was also the location of the Boar 's Head Tavern set , where Welles shot Moreau 's and Rutherford 's scenes . The production then traveled to Pedraza for some outdoor street scenes , and then to Soria to shoot in the snow for the opening shots . After shooting some scenes with Justice Shallow and Justice Silence in the Basque country , Welles returned to Madrid in December to film the battle scenes in Casa de Campo Park for ten days .
By late December Welles had run out of money and the film was put on hold while he searched for additional funding . However , some small scenes were shot during the break . Welles later said that he had rejected offers for funding that were conditional upon filming in color . Welles eventually secured funding from Harry Saltzman and production officially resumed in late February with most of Keith Baxter 's longer speeches and the Coronation scene in Madrid . Between March and April , Welles finished the film with filler shots , close @-@ ups , the final rejection scene and most of Falstaff 's speeches . According to Keith Baxter , Welles had stage fright and delayed all of his scenes until the very end of filming , except for scenes that included other actors . Welles was timid about shooting his love scene with Moreau , and used a double whenever possible . Other filming locations included the Chateau <unk> , Puerta de San Vincente and the Soria Cathedral . Welles was harsh with his crew members and according to actor Andrew Faulds , " he spoke in five different languages to them and was pretty offensive — very demanding . I suppose he 'd worked out that if you bullied actors , you didn 't get the best from them whereas , to hell with the technicians . They had to do as they were told , and pretty quick . " A scene depicting the assassination of King Richard II , originally intended to open the film , was cut .
= = = Post @-@ production = = =
Keith Baxter said that the film 's soundtrack was post @-@ dubbed months after filming was completed , and that actors Fernando Rey and Marina Vlady were dubbed by different actors because of their heavy accents . Baxter also stated that he , Welles and Michael Aldridge recorded voices for several characters in post @-@ production . Mistress Quickly 's speech after Falstaff 's death , which was disrupted by the audible hum of a power generator , used the original version of the soundtrack because Welles liked Margaret Rutherford 's performance enough to keep it . The score was composed by Angelo Francesco <unk> , who had worked with Welles on Othello . The score was recorded in an Italian studio , which paid <unk> for his work on the film in exchange for the rights to the music , and later released a soundtrack album in Italy and the UK . During the editing , Welles showed a rough cut to the visiting head of the Cannes Film Festival , who immediately wanted to include the film in the festival , and Welles had to finish the editing more quickly than he preferred .
= = Style = =
= = = Cinematography = = =
Welles had originally wanted the entire film to use high contrast cinematography , resembling engravings of the Middle Ages ; only the opening title sequence uses this technique . The film 's most famous sequence is the Battle of Shrewsbury ; only about 180 extras were available and Welles used editing techniques to give the appearance of armies of thousands . Welles filmed all of the battle scenes in long takes , but cut the shots into fragments to create the effect that he wanted . It took ten days to shoot the scenes and six weeks to edit what became a six @-@ minute sequence . In filming the sequence , Welles often used hand @-@ held cameras , wide @-@ angle lenses , slow motion and speed up shots , static shots , swish pans and constant rapid movement of the characters to create a kinetic and chaotic atmosphere . Anderegg has said that " in the end , both armies have become one huge , awkward , disintegrating war machine , a grotesque robot whose power source slowly begins to fail and finally comes to a frozen halt . Verbal rhetoric — language itself — seems , for the moment , both irrelevant and obscene . "
The Battle of Shrewsbury sequence has often been called an anti @-@ war statement by film critics and likened to contemporary films like Dr. Strangelove and Culloden . Shakespearean scholar Daniel Seltzer said that " the social consciousness of the movie is as alert as Shakespeare 's , and thematically pertinent in Shakespearean terms too ... the footage of the Battle of Shrewsbury itself must be some of the finest , truest , ugliest scenes of warfare ever shot and edited for a movie . " Welles scholar James Naremore said that " the underlying eroticism of the chivalric code ... is exposed in all its cruel perversity . " Tony Howard wrote that Welles used Shakespeare 's historical plays " to denounce modern political hypocrisy and militarism . "
= = = Sound = = =
Due to budgetary constraints , both the on @-@ set and post @-@ production sound was poorly recorded . Anderegg wrote that this , in combination with Welles ' fast @-@ paced camera movements and editing , makes the Shakespearean dialogue more difficult to understand . Many scenes are shot in long shots or with character 's backs facing the camera , most likely for practical purposes when actors were not present , creating more sound problems . " In effect , " Anderegg writes , " Welles generates a constant tension between what we see and what we hear , a tension that points to the ambiguous status of language in its relation to action . " During the Battle of Shrewsbury sequence Welles used a complex and layered soundtrack that included the sounds of swords and armor clanking , soldiers grunting and screaming , bones breaking , boots in the mud and the film 's musical score to add to the chaos of the scene .
= = = Interpretation of Shakespeare = = =
Welles 's adaptation of five Shakespeare plays was not a chronological transcription of the original texts . Shakespearean scholar Kenneth S. Rothwell said that Welles " goes beyond mere tinkering with Shakespeare 's scenes ; [ he ] massively reworks , transposes , revises and deletes , indeed reconstructs them . " These changes included taking lines of dialogue from one play and inserting them into scenes from another . Specific changes include a scene near the end of the film in which Hal pardons an imprisoned street rabble @-@ <unk> just before his expedition to invade France ; Welles slightly altered this scene from Henry V , Act 2 , Scene 2 . In the film it is stated that this man is Falstaff , and that the incident he is pardoning is Falstaff 's disturbance of Hal 's coronation . Although both the pardoned prisoner and Falstaff are said to drink wine , Shakespeare does not imply that the pardoned prisoner is Falstaff . In both Chimes at Midnight and in Henry V , this scene is followed by Falstaff 's death . The film contains no true soliloquies , since characters are never alone and do not speak directly to the audience during their speeches . Henry IV is usually shown standing or sitting with very little action involved — this , says Anderegg , makes it appear that he speaks only to himself even when others are present . Gielgud was known for his classical interpretation of Shakespeare , and his performance consists almost entirely of words , which are unable to defeat either Northumberland 's rebels or Hal 's wild behavior . Throughout the film , Falstaff , Hal and Hotspur imitate Gielgud , mocking the words of Henry IV .
= = Reception = =
= = = Critical response = = =
Chimes at Midnight premiered to a positive audience reception at the 1966 Cannes Film Festival . However , after New York Times critic Bosley Crowther 's unfavorable advance review , American distributor Harry Saltzman decided to give the film little publicity and minimal distribution when it was released in the U.S. the next year . Critical reception on its first release was mostly negative ; the film was not regarded as one of Welles 's best until years later . Crowther criticized the film 's poor audio track and called it " a confusing patchwork of scenes and characters ... designed to give major exposure to Jack Falstaff . " Welles 's performance , he said , was " a dissolute , bumbling street @-@ corner Santa Claus . " Penelope Houston called it " a film which seems to turn its back on brilliance . " A Time review also criticized Welles , stating that " [ he ] is probably the first actor in the history of the theater to appear too fat for the role ... he takes command of scenes less with spoken English than with body English " , but that he is " never entirely bad . "
Judith Crist praised the film as " stark , simple , concentrating on word and performance , serv [ ing ] as a reminder of where the substance of the play lies . " Pauline Kael also criticized the poor sound , but gave a favorable review overall , singling out the film 's casting and calling Welles 's performance " very rich , very full . " She said the Battle of Shrewsbury sequence was " unlike any battle scene done on the screen before . " Cahiers du Cinema critic Serge <unk> also praised both the film and Welles 's ability to make great films on the subject of power . Roger Ebert praised the film as " a magnificent film , clearly among Welles ' greatest work . "
= = = Legacy = = =
Welles held Chimes at Midnight in high regard . " It 's my favorite picture , yes , " he told interviewer Leslie <unk> in a 1982 interview for BBC Arena :
If I wanted to get into heaven on the basis of one movie , that 's the one I would offer up . I think it 's because it is to me the least flawed ; let me put it that way . It is the most successful for what I tried to do . I succeeded more completely in my view with that than with anything else .
He also considered it to be his most personal film , along with The Magnificent Ambersons . Many critics , including Peter Bogdanovich and Jonathan Rosenbaum , also consider Chimes at Midnight to be Welles 's finest work . Several years after its initial release , film critic Vincent Canby of The New York Times wrote that Chimes at Midnight " may be the greatest Shakespearean film ever made , bar none . " Joseph McBride has called it " Welles 's masterpiece , the fullest , most completely realized expression of everything he had been working towards since Citizen Kane . " Welles was disappointed with the film 's reception , complaining that " almost nobody has seen it in America , and that drives me nuts . "
The Battle of Shrewsbury sequence has been particularly admired , and inspired later movies , including Braveheart and Saving Private Ryan . Film critics have compared it to the Odessa Steps sequence in Battleship Potemkin and the Battle on the Ice sequence in Alexander Nevsky , both directed by Sergei Eisenstein . Kenneth Branagh 's Henry V used Welles 's Battle of Shrewsbury sequence as an inspiration for the Battle of Agincourt , and depicted Prince Hal 's rejection of Falstaff in a way that was more influenced by Chimes at Midnight than from more traditional interpretations of the scene . In 1988 , director Patrick Garland staged a version of Chimes at Midnight starring Simon Callow as Falstaff at the Chichester Festival Theatre . Michael Anderegg said that Chimes at Midnight 's use of wide angle lenses , low @-@ key lighting and costumes , and its focus on the relationship between Falstaff and Prince Hal influenced My Own Private Idaho — Gus Van Sant 's 1991 loose adaptation of Henry IV Parts 1 and 2 .
In 2011 , Bonham 's Auction House sold a large archive of Welles 's material that had once belonged to the film 's executive producer Alessandro Tasca di <unk> . Most of the material was from Chimes at Midnight , and included Welles 's original artwork , photographs and memos . This collection was later donated to the University of Michigan for scholarly study .
In 2012 , for the British Film Institute 's Sight and Sound poll , 11 film critics and two directors voted Chimes at Midnight one of the 10 greatest films of all time , including McBride and Todd McCarthy .
Spanish writer and director of the Film Library of Catalonia Esteve <unk> published a book about the film called The Things We 've Seen : Welles and Falstaff in 2015 .
= = = Awards = = =
At the 1966 Cannes Film Festival , Chimes at Midnight was screened in competition for the Palme d 'Or and won the 20th Anniversary Prize and the Technical Grand Prize . Welles was nominated for a BAFTA award for Best Foreign Actor in 1968 In Spain , the film won the Citizens Writers Circle Award for Best Film in 1966 .
= = = Home media = = =
Because of legal disputes over the rights , Chimes at Midnight has only been released twice on VHS video in the United States , neither of which is currently available . Harry Saltzman 's widow Adriana Saltzman , the families of producers Emiliano Piedra and Angel <unk> and the estate of Orson Welles — maintained by Beatrice Welles — among others have all claimed ownership of the film . For many years the only available source was a region @-@ free DVD from Brazil . Mr Bongo Records screened a restored version in the UK at Picturehouse Cinemas on August 1 , 2011 . In February 2015 , the film was screened at the Sedona International Film Festival . Beatrice Welles attended and announced that " a major DVD / Blu @-@ ray label is interested in restoring and releasing Chimes at Midnight . " The pristine 35mm print was discovered by <unk> Inc . , who said it was " in such great condition that it is begging for a full 4k scan restoration . "
The film had a European release on DVD and Blu @-@ ray on June 29 , 2015 .
= = = 2016 Restoration = = =
Janus Films released a restored version of the film on DCP that premiered on January 1 , 2016 , at Film Forum in New York City and Cinefamily in Los Angeles . This restored version is not derived from the <unk> print .
A new restoration by Janus Films and The Criterion Collection screened at the Film Forum in New York January 1 – 12 , 2016 . Peter Becker , Criterion 's president , said that the release is the product of more than 20 years of effort : " There is no film we have waited longer for or worked harder to free up , and none we are prouder to present " , he said . Criterion will release this restoration on DVD and Blu @-@ ray in August 2016 .
= = Welles and Falstaff = =
= = = Welles 's views on Sir John Falstaff = = =
Welles considered Falstaff to be " Shakespeare 's greatest creation " and said that the role was " the most difficult part I 've ever played . " Keith Baxter believed that making the film was Welles 's life 's ambition . Before the 1939 Boston premiere of Five Kings , Welles told journalists " I will play him as a tragic figure . I hope , of course , he will be funny to the audience , just as he was funny to those around him . But his humor and wit were aroused merely by the fact that he wanted to please the prince . Falstaff , however , had the potential of greatness in him . " Reviews for the 1939 play mention Welles ' choice to downplay the traditional comedic elements of Falstaff in his performance . This reverence for the character increased over the years and by the time Welles made Chimes at Midnight , his focus was entirely on the relationships between Falstaff , Hal and Henry IV . He believed that the core of the story was " the betrayal of friendship . " Welles called Hal 's rejection of Falstaff " one of the greatest scenes ever written , so the movie is really a preparation for it . Everything prepares for it . " Throughout the film , Hal constantly turns his back on Falstaff , foreshadowing the film 's ending .
Welles said , " the film was not intended as a lament for Falstaff , but for the death of Merrie England . Merrie England as a conception , a myth which has been very real to the English @-@ speaking world , and is to some extent expressed in other countries of the Medieval epoch : the age of chivalry , of simplicity , of Maytime and all that . It is more than Falstaff who is dying . It 's the old England dying and betrayed . " Many film theorists and Welles biographers have written about the recurrent theme of the " Lost Eden " in Welles 's work and of characters who are nostalgic for an idealized past , which Welles called " the central theme in Western culture . " Welles told Peter Bogdanovich that " even if the good old days never existed , the fact that we can conceive of such a world is , in fact , an affirmation of the human spirit . " Film scholar <unk> Houston argued that this nostalgia made Welles 's depiction of Falstaff infantile and called his performance a " [ p ] <unk> baby ... an eating , sucking , foetus @-@ like creature . " Welles also called Falstaff " the greatest conception of a good man , the most completely good man , in all of drama " , and said that " the closer I thought I was getting to Falstaff the less funny he seemed to me . When I played him before in the theater , he seemed more witty than comical . And in bringing him to the screen , I found him only occasionally , and only deliberately , a clown . "
= = = Welles 's personal connections to Sir John Falstaff = = =
Keith Baxter compared Welles to Falstaff , since they were both perpetually short of money , often lied and cheated people to get what they needed and were always merry and fun loving . Film scholar Jack Jorgens also compared Welles to Falstaff , stating that " to a man who directed and starred in a masterpiece and has since staggered through three decades of underfinanced , hurried , flawed films , scores of bit parts , narrations , and interviews which debased his talent , dozens of projects which died for want of persistence and financing , the story of a fat , aging jester exiled from his audience and no longer able to triumph over impossible obstacles with wit and torrential imagination might well seem tragic . " When Joss Ackland played Falstaff on the stage in 1982 , he said that he was more inspired by Welles than by Welles 's performance as Falstaff , stating that " like Falstaff , I believe he could have achieved so much , but it was frittered away . " Kenneth S. Rothwell has called Hal 's rejection of Falstaff allegorical to Hollywood 's rejection of Welles . Welles had become deeply depressed in the late 1950s after the disappointment of making Touch of Evil , his intended Hollywood comeback .
Welles 's biographer Simon Callow has compared Falstaff to Welles 's father Richard Head Welles , stating that like Falstaff , Welles 's father was " a drunkard , a trickster , a braggart , a womanizer , a gentleman and a charmer — and he is rejected by the person he loves the most . " Welles 's father was an alcoholic and womanizer who would often take a teenage Welles along with him when he was indulging in his vices . Welles observed his father much like Falstaff is observed by Hal and depends on his young protégé to bail him out of trouble . The love triangle between Prince Hal and his two father figures , Henry IV and Falstaff , is also similar to Welles 's relationships with his father and the two men who became surrogate fathers to him : family friend Dr. Maurice Bernstein and Todd School for Boys headmaster Roger Hill . Both of Welles 's surrogate fathers disapproved of Richard Welles 's lifestyle and negative influence on Welles . When he was fifteen Welles took the advice of Roger Hill and told his father that he would not see him again until he cleaned up his act and stopped drinking . Welles 's father died shortly afterwards , alone and lonely , and Welles always blamed himself for his father 's death , stating " I always thought I killed him . "
Welles 's alleged biological son Michael Lindsay @-@ Hogg , who was born out of wedlock to Welles and actress Geraldine Fitzgerald , first met Welles when he was 15 and later worked on the 1960 stage play Chimes at Midnight . This was the only significant amount of time that the two spent together and afterwards Lindsay @-@ Hogg only saw Welles sporadically . Like Welles , Lindsay @-@ Hogg had two surrogate fathers in addition to his biological father . In the late 1950s when she was 16 , Welles 's eldest daughter Christopher Welles Feder cut off all ties with Welles under pressure from her mother , who disapproved of Welles 's influence on her . Welles and Feder later reconnected but their relationship never fully recovered . Welles 's youngest daughter Beatrice , who resembles her father as a young boy , appears in the film version of Chimes at Midnight .
= Python ( programming language ) =
Python is a widely used high @-@ level , general @-@ purpose , interpreted , dynamic programming language . Its design philosophy emphasizes code readability , and its syntax allows programmers to express concepts in fewer lines of code than possible in languages such as C + + or Java . The language provides constructs intended to enable clear programs on both a small and large scale .
Python supports multiple programming paradigms , including object @-@ oriented , imperative and functional programming or procedural styles . It features a dynamic type system and automatic memory management and has a large and comprehensive standard library .
Python interpreters are available for many operating systems , allowing Python code to run on a wide variety of systems . Using third @-@ party tools , such as <unk> or <unk> , Python code can be packaged into stand @-@ alone executable programs for some of the most popular operating systems , so Python @-@ based software can be distributed to , and used on , those environments with no need to install a Python interpreter .
CPython , the reference implementation of Python , is free and open @-@ source software and has a community @-@ based development model , as do nearly all of its variant implementations . CPython is managed by the non @-@ profit Python Software Foundation .
= = History = =
Python was conceived in the late 1980s , and its implementation began in December 1989 by Guido van Rossum at Centrum <unk> & <unk> ( CWI ) in the Netherlands as a successor to the ABC language ( itself inspired by <unk> ) capable of exception handling and interfacing with the operating system Amoeba . Van Rossum is Python 's principal author , and his continuing central role in deciding the direction of Python is reflected in the title given to him by the Python community , benevolent dictator for life ( <unk> ) .
About the origin of Python , Van Rossum wrote in 1996 :
Over six years ago , in December 1989 , I was looking for a " hobby " programming project that would keep me occupied during the week around Christmas . My office ... would be closed , but I had a home computer , and not much else on my hands . I decided to write an interpreter for the new scripting language I had been thinking about lately : a descendant of ABC that would appeal to Unix / C hackers . I chose Python as a working title for the project , being in a slightly irreverent mood ( and a big fan of Monty Python 's Flying Circus ) .
Python 2 @.@ 0 was released on 16 October 2000 and had many major new features , including a cycle @-@ detecting garbage collector and support for Unicode . With this release the development process was changed and became more transparent and community @-@ backed .
Python 3 @.@ 0 ( which early in its development was commonly referred to as Python 3000 or <unk> ) , a major , backwards @-@ incompatible release , was released on 3 December 2008 after a long period of testing . Many of its major features have been <unk> to the backwards @-@ compatible Python <unk> and <unk> version series .
= = Features and philosophy = =
Python is a multi @-@ paradigm programming language : object @-@ oriented programming and structured programming are fully supported , and many language features support functional programming and aspect @-@ oriented programming ( including by metaprogramming and <unk> ( magic methods ) ) . Many other paradigms are supported via extensions , including design by contract and logic programming .
Python uses dynamic typing and a mix of reference counting and a cycle @-@ detecting garbage collector for memory management . An important feature of Python is dynamic name resolution ( late binding ) , which binds method and variable names during program execution .
The design of Python offers some support for functional programming in the Lisp tradition . The language has map ( ) , reduce ( ) and filter ( ) functions ; list comprehensions , dictionaries , and sets ; and generator expressions . The standard library has two modules ( <unk> and <unk> ) that implement functional tools borrowed from Haskell and Standard ML .
The core philosophy of the language is summarized by the document The Zen of Python ( PEP 20 ) , which includes aphorisms such as :
Beautiful is better than ugly