Sir Laurence Olivier’s 1955 film of Richard III centres on a single character and has, according to Anthony Davies in Filming Shakespeare’s Plays, more links with his Hamlet than with his Henry V. It is, says Davies, a 'psychological study developed along the lines of attitudes to and conceptions of power'. The film is unabashedly theatrical, with the kind of stylised sets that Peter Holland labels 'fake medievalism'. As Davies shows, however, the play becomes cinema. 'The primary articulation of Olivier’s Richard III is essentially filmic.' Richard III, writes Jack Jorgens, is 'not really a history play'. Olivier depicts a 'renaissance wolf among medieval sheep … Richard’s opponents [in the film] are weak and stupid, but they do not seem as evil as they do in Shakespeare'. Indeed, his victims tend to yield to him without resistance. Clarence does, of course, not reading his own vivid treachery as a family trait that inheres in his brother. Hastings does, ignoring Stanley’s dream and his own stumbling horse. But Lady Anne, we notice, has taken off her wedding ring before her second meeting with Richard. It is as if she is waiting for him to ask 'Is not the causer of the timeless deaths … As blameful as the executioner?' in the second confrontation that Olivier crafts from the script.