Shakespeare in Hollywood

[Autom. eng. transl.] At first, "dressing up" Shakespeare in the theater had been a common practice, and from the Jubilee of 1769 onwards the myth that had been created around the Bard had made him into something even greater: the foundation of the cultural DNA of the speaking peoples. English. At the beginning of the 19th century, Jane Austen wrote that Shakespeare is «part of the constitution of every Englishman [...] one becomes intimate with him instinctively». And as with any genetic heritage, the son thinks he has as much right to it as the father, so the nascent United States had appropriated it with naturalness, decision and creativity. Even at the cinema. Shakespeare had been part of the conquest of the West, omnipresent in mining towns and frontier saloons: it was not unnatural for him to crop up in a Western like John Ford's My Darling Clementine. Or in a science fiction film like Forbidden Planet. In a musical set in New York like West Side Story. Or even that it was explicitly taken as a model for a typical gangster story, as in the case of Joe MacBeth.