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Unlike Shakespeare’s other plays, Henry V is not an obvious metadrama. It has, however, metadramatic elements: the player king who performs a remarkable role as a leader and the chorus who leads the audience to use their own imagination. There are two major film adaptations of Henry V that well-comprehend and further develop the metadramatic elements of the original text, one directed by Laurence Olivier in 1944 and the other by Kenneth Branagh in 1989. The metadramatic elements represented in the works are summarized as follows:. Firstly, despite the cinema’s characteristic of unlimited time and space, the chorus still asks the audience to “work their imagination”. The presence of the chorus and the necessity of imagination remind us of the self-reflexivity of the original text that both Olivier and Branagh put a high value on. Olivier places his chorus on an Elizabethan stage, and Branagh’s chorus introduces the audience into a film studio and reports on the military situation from the battle field of the Argincourt. Secondly, the films clearly show the metadramtic element as Henry makes a successful leader by acting an ideal king in the war. He is an ambiguous man, as his inner world is rarely revealed. His appearance, on the contrary, shown through his rhetorics, decisiveness and passion is considered to be a clue to a model hero. And lastly, another metacinematic element, film within a film. The device comes from flashbacks of Boar’s Head scenes. Although Falstaff’s death is described only by the narration of Mistress Quickly in the original text, Olivier overlaps the images of the death onto the Quickly’s verbal depiction and the words of Henry’s refusal quoted from Henry IV. In addition to the simple recollection, Branagh inserts two scenes from Henry IV as flashbacks to show Henry’s firmness