In King Lear, Shakespeare is concerned with exploring the notions of the inevitability of the power struggle between generations. The adapted film version of King Lear directed by Richard Eyre, begins with the dark, foreboding imagery of the eclipse emphasizing the progressive obscuring shadow of evil and power gradually moving stealthily across the presence of light, on a cosmic level. In comparison to Shakespeare’s King Lear there is no immediate implication of the presence of evil or the steadily engulfing silhouette of darkness, as the film evidently suggests in the first few seconds. The play commences with the jovial and slightly flippant tone of Gloucester and the more urbane Kent in light hearted discussion, devoid of any sense of foreboding times to come. A solemn white robed Edgar is viewed in a close profiled shot gazing through smoking glass at the eclipse whilst his bastard brother Edmond skulks in the background his face half masked by his darkening shadow. Eyre uses the obscurity of Edmonds face to illustrate Edmonds intention to conceal a part of himself and h......

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