The challenge of portraying Shakespeare’s Lear on stage or screen can be overwhelming; any interpretation inevitably invites comparison with established performances. Iconic portrayals by actors like Owen Roe in Selina Cartmell's 2013 Abbey Theatre production set a high bar, showcasing an innovative approach—alternating between furious outbursts and quiet, almost detached observations—that highlighted the character’s inner turmoil. Anthony Hopkins’s performance in Richard Eyre’s recent BBC adaptation, however, falls short of that standard. While his involvement was surprising given his past disillusionment with Shakespearean roles, the result feels surprisingly uninspired, lacking the depth and nuance expected from someone who has tackled the part so many times before—over one-hundred performances in David Hare's 1986 National Theatre production and another hundred in Peter Hall’s 1987 _Antony and Cleopatra_. His interpretation comes across as lethargic and familiar, echoing previous roles he’s played. Hopkins’s performance seems limited to two modes—anger and louder anger—and lacks the range displayed by actors like Brian Cox or Paul Scofield in their own interpretations of Lear. His tendency to pause mid-line also disrupts the rhythm of the verse, creating an odd effect. Despite this central weakness, the production benefits from a uniformly strong supporting cast. Emma Thompson delivers a particularly memorable portrayal of Goneril, while Jim Broadbent shines as Gloucester. Emily Watson and Tobias Menzies are exceptional as Regan and Cornwall, their scenes together being highlights. Richard Eyre’s direction is generally effective, although some choices—like setting the play in modern London with Lear as a retiring leader—feel somewhat heavy-handed. The shopping mall scene, depicting Lear as a disheveled vagrant pushing a trolley, is a powerful image that conveys his downfall, and the inclusion of an asylum seekers' refugee camp offers timely commentary. Ultimately, this adaptation boasts considerable strengths but is ultimately undermined by Hopkins’s underwhelming performance, which prevents it from reaching its full potential.

Source on TMDB