Hamlet

It stands to reason that Larry Olivier's version of Hamlet is one of the best, and even if he was a little old for the role (in his forties by this time) it really is the perfect role for him.

One or two things to note - the camera angles and shots are often stunning, from above, using angles and shadows, extreme close-ups, and so on. This gives the sometimes ponderous adaptation atmosphere and the black and white photography is gorgeous. Amongst the supporting cast Jean Simmons is a childish, doting Ophelia but this works well. Not working so well are the soliloquies largely within Hamlet's head (and therefore, voiceover). This seems a little gimmicky and only really makes sense with 'To be or not to be'.

That aside, this really is Larry's show and he is brilliant. Despite a few cuts it does the original play proud and is, like Welles' Macbeth and Othello, a truly cinematic reading.

For years I've considered the classical soviet screen-version of Hamlet directed by Kozintsev (1964) as the best adaptation of the play. I still think it's a masterpiece, however now it fills the second place in my preferences and the first one belongs to Lord Laurence Olivier. To begin with, I was astonished to find out that scenery, costumes and make-up in Kozintsev's film clearly resemble those from Olivier's version. No doubts, our producer knew and appreciated earlier English movie and deliberately copied the settings. Well, I don't blame him: he used it successfully, but the lack of originality is somehow disappointing. The scenery is really wonderful: cold, gloomy, dark, gothic, haunting and even more impressive for being black-and-white. And then… LORD LAURENCE OLIVIER IS THE BEST SHAKESPEAREAN ACTOR EVER. No one else can make the 16th century Bard's text sound modern, natural, alive, expressive, exciting, clear and full of hidden before meaning. Indeed, soviet actors pronounce the text fantastically well, but in Russian: I mean in translation by talented Russian poet Pasternak. And recently I've become interested in reading and watching Shakespeare in original. And here Olivier is an unparalleled performer. He portraits his hero wonderfully. His Hamlet is dignified and noble, reserved and mistrustful, emotional and ruthless (when he knows it is justified), and deeply frustrated (for he is disappointed in everyone except the foreigner Horatio). He is willing to act and yet waits to understand what's happening better. However events take an unexpected course and lead to the final tragedy. At the beginning Hamlet is called `a man who couldn't make up his mind'. Well, I would choose other words: `a man who changed his mind too often', but it wasn't his fault – so were circumstances. And Olivier presents these changes very vividly and truthfully. He makes `To be or not to be' an unusually powerful scene showing Hamlet just a man who sees so much evil all around that he nearly commits suicide. He is stopped only by sudden understanding that death is unremediable and too frightening – natural thought for any sensible man, brave as he is. Such simple variant pleases me better than more sophisticated ones. Somebody may disagree with Olivier's conception of the character but everyone has to admit that while Larry acts he creates complete, convincing, living image of his hero (and very sympathetic, by the way). I also would like to mention Jean Simmons. She seems to be severely misjudged by most reviewers. Simmons is an excellent Ophelia – a simple, naive young girl, merely a child, affectionate, light-hearted, playful, flirting and exceptionally sensitive. An absolutely charming scene is that of Laertes' departure. Polonius makes his solemn speech and Ophelia all the time mischievously distracts attention of her brother. I like all Olivier's films for such amusing trifles. Gertrude is well chosen too, quite believable. Eileen Herlie clear shows that at the end Gertrude understands her husband's wicked game and takes the poison consciously. However, Claudius is not impressive enough, to my mind. To see a perfect thrilling Shakespearean villain you have to watch Kozintsev's film.

Of course the play is noticeably cut. I confess I miss Hamlet's passionate soliloquy `Is not this monstrous that this player here…', and also Rosencrantz and Guildenstern (they are important, for Hamlet faces the treachery of friends in their part). On the other hand more complete versions are rather overlong. I am not sure that Branagh's four hours movie gains anything from using the full text. This film is dynamic and worth seeing not only for the sake of Lord Laurence's outstanding performance, but because it is extraordinary interesting version of the familiar play.

This adaptation of "Hamlet" by Laurence Olivier (he both starred and directed) is a brooding, somewhat slow-moving, but also memorable version of Shakespeare's great play. Olivier's personal performance as the Danish prince is by far the strongest aspect of the picture.

Hamlet is one of the most complex and fascinating characters ever created, and no two great actors ever play him quite the same way. Olivier portrays him primarily as "a man who could not make up his mind", and his fine and often subtle acting brings to his role a deep understanding of his character's inner struggles and dilemmas, both moral and practical. He renders Hamlet's most famous lines in a distinctive way that reveal the many possible paths in Hamlet's future. It is a performance not to be forgotten.

If Olivier the actor is masterful, Olivier the director is good but not perfect. A great deal of Shakespeare's text was eliminated, getting the running time down to 2 1/2 hours, but even so there are times when the movie seems rather slow-moving, especially in the first hour or so. Most of the cuts involve interactions with the minor characters, and some of the original play's minor roles are cut completely out of the film. The result is to concentrate the emphasis even further on Hamlet himself and on his pessimistic meditations. While this enables Olivier's fine acting to become even more prominent, it does eliminate some very interesting portions of the story whose absence will be regretted by those viewers who love the play.

Olivier does add some good touches, though. He emphasizes the somber tone with numerous tracking shots of the castle's gloomy corridors and staircases. The filming of the famous sequence of events at the end is very good, and is much livelier than the rest.

While this is probably not the very best interpretation of the play "Hamlet", it is as good an interpretation of the character Hamlet as you will ever see. For that reason alone it is must viewing for any fan of Shakespeare or of Olivier.

The amount of lines taken from this play and used in our everyday conversation is staggering. Like all of the Bard's works, his endurance is not only the mastery of language, but really in storylines that just never get old. Above, everything else, Hamlet is an interesting tale. Olivier's interpretation however, is very dark. Very deliberate. He shies away from the humor completely, and instead takes a slow, purposeful tack. To that, it might not appeal to some. In such a long play and movie, the humor is sorta needed to jostle you a bit, and break the overall bleakness of the tragedy. You don't catch a break here I'm afraid. Id classify this therefore as for more advanced taste, and not for the average moviegoer. Olivier's other two attempts, Henry V and Richard III, specifically the latter, will garner more mainstream appeal.

The titled melancholy Danish prince (Oscar-winner Laurence Olivier) seeks to avenge those involved with his father's death. It seems that Olivier's father (voiced by John Gielgud) still roams the Earth as a spirit that walks around aimlessly, unable to find Heaven or Hell (Purgatory for the most part). Gielgud makes it clear that his brother (Basil Sydney) was the culprit in his death and Olivier becomes enraged. The fact that Sydney has become king by marrying the titled character's mother (Eileen Herlie) just makes the tension build. Herlie and Olivier's relationship pushes the envelope hard on a typical mother-son bond (there are incestuous tones abound here). Oscar-nominee Jean Simmons appears to be Olivier's one true love, but after a terrible tragedy she falls down a path of mental anguish. It appears that the only logical conclusion for Shakespeare's famed character is to have that famous sword fight dual with Simmons' brother (Terence Morgan). Of course you know that not everything is the way it seems, right? "Hamlet" was a surprising success in 1948. Produced in Britain (and strictly a British project for all intensive purposes), the film became a runaway hit with most all audiences and critics (becoming the year's Best Picture Oscar winner). Shakespeare's plays have never really warranted excellence on the silver screen, but this adaptation (also by Olivier) is about as close as we have seen thus far. The movie runs nearly three hours and I was about to fall asleep after the first 60 minutes (the film is almost dragging to a crawl by that point), but after the set-up the movie soars very high. Lots of data that is somewhat confusing hogs up a little too much time when the pacing could have been much crisper. Olivier's spin on the timeless classic is truly uncanny nonetheless. His direction (he was Oscar-nominated in the category) and vision are something to behold. The production values are strong and I ended up enjoying the movie for what it is and what it ultimately wanted to be. Olivier became the first of only two people presently to direct himself to an Oscar victory (Roberto Benigni duplicated the feat with 1998's "Life Is Beautiful"). 4.5 out of 5 stars.