The inner evil revealed in the film and BBC productions of Shakespeare's Richard IIIAll the passions of the irascible arise from the passions of the concupiscible appetite and end in them . For example, anger arises from sadness and, after taking revenge, ends in joy. St. Thomas Aquinas In Richard III, Shakespeare creates evil personified. The evil protagonist conspires against relatives, plots political takeovers, woos widows, incites assassins against children and relishes every nefarious deed. We watch Richard's bravado with wicked glee and glee at every boastful comment sent in our direction. Once the villain becomes seductive, even funny, in his overt cruelty, the playwright must step in to counterbalance his brilliant wit. But how is it possible to bring this devil Richard to his knees with the elevated and appropriate style required by the momentum of the script? Shakespeare leaves us the briefest direction: "Alarm. Richard and Richmond enter; they fight; Richard is killed" (Vv). Once “the accursed dog is dead,” Richmond prays for a “serene peace” (Vv2,33). Immediately following Richard's tormented dream of accusing the ghosts, this concluding scene reinforces a mood described by Robert Ornstein as "one of somber reflection, not joyful celebration" (263). However, the interpretive liberties taken by three twentieth-century filmmakers establish elaborate messages about the horrors of bloodshed, the inevitability of power struggles, and the creation of myths about villains. The 1982 BBC production takes audiences through a series of reactions: the bloodlust for vengeance, the prayer for redemption and the vision of hellish destruction. We watch Richard surrounded by soldiers, baited like a beast... in the middle of a sheet of paper... thin this structure, his body will pull him down with the mocking demands of his physical being" (35). Structurally, the gargoyles often function as drains, spewing sewage to protect the aesthetics of the church. Likewise, Richard embodies our hatred and cruelties, reminding us whether he purifies our sins through his death depends on the director's approach. redemption and transfer.Works CitedEccles, Mark. “Richard III on Stage and Screen: Richard III: Signet Classic, 1988.Hallett, Charles A. and Elaine S. Hallett. The Revenger's Madness. U of Nebraska P, 1980. (Epigraph) Ornstein, Richard, 1978.