Editing Henry V (1944 film) (section)

===Setting===
Much of the film's impact comes from the vivid [[Technicolor]] cinematography (using the only Technicolor camera in England at the time),<ref name=":03">{{Cite web|url=https://www.tcm.com/tcmdb/title/77778/henry-v#articles-reviews|title=Henry V (1944)|website=Turner Classic Movies|access-date=2019-10-12}}</ref> spectacular period costumes and a unique blend of stylized settings, miniatures and location shooting. The film begins with a handbill floating out of the sky setting the date—the first of May 1600–and the occasion. This dissolves into a tremendously detailed miniature model of London, with boats moving on the Thames. The camera pulls away from the Tower, gleaming white in the sun, and moves past London Bridge (crowded with buildings) to aim across the river at the densely packed city studded with churches, stretching into the distance, until [[Old St Paul's Cathedral|St. Paul's]] (as it was then) can be seen. The camera pauses for a beat and then moves back to zoom in on one of the two round theatres, where a man is raising a flag inscribed The [[Globe Theatre|Globe Playhouse]], showing that a performance is imminent. Then we go into the theatre for a vivid recreation of a production of the play as performed at that time, complete with hecklers and an annoying rain shower. The Chorus (a single actor) invokes the audience's imaginations, and when the action in the play moves to Southampton, we enter the world of the [[Très Riches Heures du Duc de Berry|Trés Riches Heures of the Duc de Berry]], a late medieval [[Book of Hours]]. Costumes and hair styles are authentic, and female parts are now played by women, as when Mistress Quickly delivers the news of Falstaff's death and joins other women in farewelling the soldiers.

The Chorus now invokes our imagination to fly past the fleet, barely visible far below in a Channel filled with fog, to the court of France, where Charles VI is attended by various nobles, including the "Duke of Berri", who is examining an illuminated volume with a magnifying glass in one hand and a clove-studded orange pomander in the other.

The setting becomes more natural in the dark night before Agincourt, when Henry walks through the sleeping camp to see how it goes with his men. The [[Battle of Agincourt]] takes place in a realistic setting (filmed in Ireland),<ref name=":03" /> in natural fields and forests, and dialogue is delivered from the backs of restive chargers. The troops singing [[Non nobis|Non Nobis]] and [[Te Deum]] at Henry's bidding march toward a painted rendition of the château, which fades out and fades in to the same image, blanketed in deep snow. The next set is a near-perfect rendition of the often-reproduced [[Très Riches Heures du Duc de Berry|February page from the Trés Riches Heures]], with Pistol taking the place of the man warming himself in the cottage (but with greater modesty).

We next see the negotiations for the [[Treaty of Troyes]], and the setting is used to great effect to clarify and increase the impact of the Duke of Burgundy's speech about the sorry state of France. Although it is spring, the camera moves out through a window to pan over a painting of the neglected countryside, specifically illustrating each line of the speech and pausing on the neglected children before panning back up to the château. Henry's courtship of Princess Katherine weaves through a lacework of Gothic arches and is followed by their marriage. To the sound of a choir, backs to the camera, garbed in magnificent cloaks, they walk to their thrones. Cut abruptly to the Globe and a closeup on the actor playing Henry, the sound of applause and a pan to the boy playing Katherine (quite effectively) as they stand in gold painted capes with the rest of the cast kneeling in a tableau on either side of them.

The Chorus draws the curtain and speaks his epilogue, the camera pans up to the boychoir singing on the balcony and then cuts to the musicians in the gallery above them and moves further up to the narrow porch where a man brings down the flag and takes it inside. Cut to the model. The camera pulls all the way back and a handbill flies into view. The credits roll by, but before the picture ends we return to the model one last time as "The End" appears over a shot of the Tower of London gleaming white on the banks of the Thames.