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It is not a typical cinematic adaptation of Shakespeare's eponymous tragedy , although some lines from the play are used in the film. Only three characters — Lear, Cordelia and Edgar — are common to both, and only Act I, scene 1 is given a conventional cinematic treatment in that two or three people actually engage in relatively meaningful dialogue. While many of Godard's films are concerned with the invisible aspects of cinematography, [ 2 ] the outward action of the film is centred on William Shakespeare Junior the Fifth, who is attempting to restore his ancestor's plays in a world where most of human civilization—and more specifically culture—has been lost after the Chernobyl catastrophe.
Rather than reproducing a performance of Shakespeare's play, the film is more concerned with the issues raised by the text, and symbolically explores the relationships between power and virtue, between fathers and daughters, words and images. The film deliberately does not use conventional Hollywood filmmaking techniques which make a film 'watchable', but instead seeks to alienate and baffle its audience in the manner of Bertolt Brecht.
The film itself contains no credits or credit sequence at all, although there is a cast list on the packaging insert. The film script, mostly written by Peter Sellars and Tom Luddy , includes only a few of Shakespeare's lines from King Lear , and these are often fragmentary and generally not heard in the order as they appear in the play. Many of the lines are not actually spoken by the characters on-screen i.
Extracts from three of Shakespeare's sonnets , numbers 47 , and 60 are heard during the film. There is also a single line from Hamlet : "Inside me there is a kind of fighting which will not let me sleep. Apart from lines from Shakespeare's play, extracts from a number of modern literary sources are also heard during the film: some are spoken by an on-screen character, some in voice-over on the deliberately confusing soundtrack.
