While I understand that [Olivier] didn't want to make a four-hour movie, some of his cuts to the text seem fundamentally misguided. Specifically, he's excised virtually every speech pertaining to self-reflection and regret... Virtues pretty much speak for themselves, with Ralph Richardson impressing me most mightily this time around...
The strongest and most spectacular of Olivier’s Shakespeare films... Seen, again on a monitor 57 years later, I was surprised to discover the most sumptuously florid color movie made in the 1950s UK this side of “The Red Shoes”...
Anyone who says the power of Richard III isn't dependent on Olivier's tremendous turn is openly courting contrariness (and not-unreasonable derision), but this isn't to say that he alone makes the film so thoroughly compelling in vision and narrative. Olivier's camera lures the audience into the pit in collusion with Olivier's performance, sneakily gliding around into and outside of conversations mounting a myriad of conspiracies.