A DELICATELY painted portrait, quite possibly the only true likeness of William Shakespeare and arguably the only one reflecting genius, lay for years under a Montreal granny’s bed. She used to pull it out from time to time and show her grandson, a thrill that set him on a life-long quest to establish the work’s authenticity and a family connection to the man himself. More than half a century later, Lloyd Sullivan is close to success. His amazing story is the subject of Anne Henderson’s new film, which will have its world premiere Tuesday night at FIFA.

Battle of Wills is a sober, 52-minute account of a controversy with the power to send shivers up the spines of Shakespeare scholars and rile members of the Bardology establishment. Called the “Sanders portrait,” after the actor who supposedly painted it, the artwork has been in Sullivan’s family for years, and passed to Lloyd by way of his maternal grandmother who retrieved it from England in 1919.

Sullivan’s mission to authenticate the painting gained momentum in 2006 when an ink test done on the label proved it to be consistent with the period. Amateur historian Pam Hinks has also uncovered clues by roaming the Worcester countryside in search a link between Sullivan’s family and Shakespeare’s theatre circle.

In the documentary, actor Joseph Fiennes (Shakespeare in Love) speaks passionately about our need for a picture of the Bard that, considering his mind-boggling life’s work, somehow seems poetically acceptable. No question, the Sanders comes closest: a sallow, androgynous face, wispy red hair, a dreamy, penetrating gaze, and most striking of all, a Mona Lisa smile. Yes, you believe this man could at least have made a substantial contribution to the First Folio. This face makes the others look like stuffy imposters.

Battle of Wills depends mainly on talking heads to tell the story. With no narration as guide, you have to listen carefully. On the evidence presented, the Canadian has a point, though he is up against specialists who fiercely defend their claims, as set down in legions of books, brochures and websites. Britain’s National Portrait Gallery has declared the Chandos portrait (1610) to be the only true visual image of Shakespeare made in his lifetime, perhaps not surprisingly, as the Chandos resides at the NPG and was the prize around which the institution was founded.

Since the film was completed, strong claims have been made for another contender, the Cobbe portrait. Henderson says she may splice in a few scenes about that case.

This fascinating account of one man’s obsession offers many threads into the larger mysteries of Shakespeare’s life. One of the most interesting is a discussion of his alleged Catholicism, how membership in a banned religion may help explain why so few traces of his actual existence have remained following his death. He may have taken pains to hide his religious affiliation, and friends helped keep the secret from Protestant authorities.

Whether or not any of these icons is the real thing, we may never know, but Battle of Wills testifies to our hunger for a true, close encounter with a creative enigma.

Battle of Wills premieres at the International Festival of Films on Art (FIFA) on Tuesday, March 24th at 6:30 pm, NFB cinema, then plays again at the Musée des Beaux Arts on Thursday at 3:30 and Sunday, March 29th at the NFB, 4 pm. For more information, consult www.artfifa.com.

Film Review at: http://entertainment.timesonline.co.uk/