It should come as no surprise that in this film version of Shakespeare's play, director Jean-Luc Godard shows very little concern for plot, or that--as with every addition to the Godard canon--KING LEAR further considers his previous ideas, preoccupations, and experiments. Though many
will cry foul at this adaptation of Shakespeare, KING LEAR, in an odd sense, does more with the original than any number of faithful, literary adaptations by allowing the material to transcend its medium and find new power in a modern time. As usual, Godard is also interested in self-consciously
exploring his own position as a filmmaker.
The film opens with Godard and producer Men...