There is a certain kind of perverse appeal to really well thought out and planned evil. You don't admire the intentions, of course, but there is something in the effectiveness and style that cannot be overlooked. That is the one of the overriding of themes of Sir Laurence Olivier's brilliant portrayal of Shakespeare's Richard III. When the film begins, he has already committed two murders, and over the course of the film, there will be at least four more, including his own brother and young nephews. But, man, you have to admire the guy's intelligence- only a twisted genius could do all this and (almost) get away with it. Only a great filmmaker and actor could have brought this character to life without us getting totally discussed with him.
That Sir Laurence Olivier is a great actor has never been in dispute, but I was not a fan of his other Shakespeare adaptations, Henry V and Hamlet, even though the latter won the Oscar for Best Picture. But Richard III is a marvelously conceived and photographed film, with a stunning and somewhat surreal production design. The sets are crucial, because they tell us that we are not watching history as it really was, but a sort of urban myth of it.
Indeed, I am told by both Wikipedia and the DVD commentary track by Bruce Edar (which unlike so many of its ilk, actually has some merit) that the real Richard III was probably no where near as bad a guy as Shakespeare would have him out to be. The reason why he was so ill remembered was that he lost- the last King from the House of York, the Tudor line that followed made sure that his name was dirt, so that the English populace would never want to go back. This made for inaccurate history, but fine drama.
Richard III may stand with the Archie Leach from The Entertainer as Olivier's greatest performance. There certainly was not a more compelling villain until Hannibal Lecter. One thing that is so compelling about this film is how the actor finds so many subtle quirks to the character- Richard is an actor himself, and Olivier deftly shows us the many versions of Richard he choose to present (often with some very black humor) and the real Richard, who presents himself to the audience. Rarely has the technique of looking directly into the camera worked more effectively.
There have been many Shakespeare adaptations (indeed, the earliest surviving American feature is a silent version of Richard III) but few are this fun, and none this subversive. Laurence Olivier may have only directed five films, but at least one is a classic.
Richard III (1955)