Olivier's Henry is a chivalrous hero-king who experiences no personal or domestic turmoil the soldiers do not seem ravaged by injury, disease, or deprivation. The French are presented as fops "over-confident, over-dressed, over-acted [he provides] a cheerful, uncomplicated, uplifting, patriotic, propaganda vehicle for world War II weary England Branagh's Henry is equally heroic, but more sensitive, more prone to doubt war is not glorious, but dirty, painful, often disgusting, and unfair war is shown as terrible, and victory has been achieved at a terrible price "for the English as well as the French.
- Shaw, 121-122.
Indeed, as the above critic portrays, Olivier and Branagh reveal Henry to be two different beings. While Olivier's Henry is seen as very kingly and very comfortable in his role as king, Branagh version shows Henry as a boyish figure in the beginning, retaining his image until the turning point of Act IV, Scene I. As Shaw also suggests, Olivier portrays the French nobility (the Germans) as stupid and confused, never giving them due credit that Shakespeare gives in his play. The French King is seen falling asleep while his son drones on and on with his speeches; the King is nudged by his wife to briefly give his lines and then falls back asleep for the rest of the scene. The conversations and planning of battle on the side of the French is not at all emphasized, making it easier for Olivier's audience to sympathize with the English. In stark contrast, Branagh gives credence to the French King and his nobles, focusing in many scenes upon the plotting of the French. We see the King's pensiveness and the son's over-zealousness in waging war.
While we are never quite sure that Henry has a right to the title of the French throne, we feel Henry's own humanity and reluctance at what he must do. Henry's emotions take over the film from time to time, and the audience sees the real person behind the fazade he must build around him as King.
