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Hamlet

  • 1948
  • Approved
  • 2 घं 34 मि
IMDb रेटिंग
7.5/10
19 हज़ार
आपकी रेटिंग
Hamlet (1948)
Prince Hamlet struggles over whether or not he should kill his uncle, whom he suspects has murdered his father, the former king.
trailer प्ले करें2:21
1 वीडियो
91 फ़ोटो
TragedyDrama

राजकुमार हेमलेट इस बात पर असमंजस है कि उसे अपने चाचा को मारना चाहिए या नहीं, जिस पर उसे संदेह है कि उसने उसके पिता, जो कि पूर्व राजा थे, उनकी हत्या की है.राजकुमार हेमलेट इस बात पर असमंजस है कि उसे अपने चाचा को मारना चाहिए या नहीं, जिस पर उसे संदेह है कि उसने उसके पिता, जो कि पूर्व राजा थे, उनकी हत्या की है.राजकुमार हेमलेट इस बात पर असमंजस है कि उसे अपने चाचा को मारना चाहिए या नहीं, जिस पर उसे संदेह है कि उसने उसके पिता, जो कि पूर्व राजा थे, उनकी हत्या की है.

  • निर्देशक
    • Laurence Olivier
  • लेखक
    • William Shakespeare
    • Laurence Olivier
  • स्टार
    • Laurence Olivier
    • Jean Simmons
    • John Laurie
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • IMDb रेटिंग
    7.5/10
    19 हज़ार
    आपकी रेटिंग
    • निर्देशक
      • Laurence Olivier
    • लेखक
      • William Shakespeare
      • Laurence Olivier
    • स्टार
      • Laurence Olivier
      • Jean Simmons
      • John Laurie
    • 115यूज़र समीक्षाएं
    • 60आलोचक समीक्षाएं
    • 82मेटास्कोर
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    • 4 ऑस्कर जीते
      • 18 जीत और कुल 6 नामांकन

    वीडियो1

    Trailer
    Trailer 2:21
    Trailer

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    टॉप कलाकार25

    बदलाव करें
    Laurence Olivier
    Laurence Olivier
    • Hamlet, Prince of Denmark
    Jean Simmons
    Jean Simmons
    • Ophelia, and Daughter
    John Laurie
    John Laurie
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    Felix Aylmer
    • Polonius, Lord Chamberlain
    Terence Morgan
    Terence Morgan
    • Laertes, His Son
    Anthony Bushell
    Anthony Bushell
    • Undetermined Secondary Role
    • (बिना क्रेडिट के)
    • निर्देशक
      • Laurence Olivier
    • लेखक
      • William Shakespeare
      • Laurence Olivier
    • सभी कास्ट और क्रू
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    उपयोगकर्ता समीक्षाएं115

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    Doc-57

    The film that set the standard for cinema Shakespeare

    This version has been topped now, but it's still not to be missed if only for nostalgic purposes. The setting, lighting, and cinematography are wondrous; the acting is superb (though by today's standards Olivier perhaps chews the scenery a bit much); the tone is somber and Gothic. And, I feel the tragedy every time I see it. I personally feel too much was cut, and I find fault with Olivier's interpretation: but then again, it's everybody's part now. Ambitious, effective, and just good theater.
    9kaiser-11

    the most powerful hamlet ever portrayed

    Olivier is absolutely mesmerizing as the dane of Denmark. I have seen Gibson's and Branagh's versions, and Olivier is still far and away the most impressive performance. Whenever I think of Hamlet, I always think of Olivier's Hamlet. The picture as a whole is very well done, although in parts it can seem a bit chinsy. Olivier (as director) firmly establishes the mood for the picture, and the ensemble acting is terrific. Watch for a very pompous Polonius!
    tfrizzell

    Dust Up on Your Shakespeare.

    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.
    tedg

    A Few Gems Here

    Any film based on Shakespeare is worth seeing because the scaffolding is so rich that even a failure is interesting. And in the case of Hamlets, we have several to compare. Here we have the celebrated Olivier Hamlet, much celebrated.

    I see a few very strong elements with some blots, and I suppose these have both become amplified with the passage of 50 years.

    First, the blots:

    -- Every actor but Olivier is of lesser caliber. I suspect that some of this is what he had to work with, and some apparent clumsiness results from the then standard rendering of the Bard's works as speechifying.

    -- The women, especially Ophelia are dreadful, absolutely dreadful -- Ophelia's only present because she screwed the boss.

    -- The score was so heavy, so dated and so hard to ignore it almost made me turn away, regardless of the balancing strengths.

    -- Hamlet's text presents problems. The best choice in my opinion is to keep it all as Branagh has. But the standard wisdom is that audiences won't sit through 4 hours, no matter how engaging. Then, the question is what to cut. One often keeps the well-known speeches and cuts into the plot about ideas. So here we lose Fortinbras, Rosenkrantz and Guildenstern, together with some rather lovely related language and notions. Too bad because there is a development in the logic of metaphor in the later, longer version of the play, and this is totally lost here.

    -- Olivier insists on including the notion of Oedipus and Gertrude, absolutely not supported by the text, and only inferred if you don't understand that Hamlet's initial distress is because his succession has been interrupted (not that his access to his Mother has been interrupted).

    -- Worse, Olivier not only believes Hamlet is a 'man that couldn't make up his mind' but tells us so at the beginning! Does he not get it? Does he not understand the complexities of reason? This is not a play about doubt, but about reasoning.

    Now the gems:

    -- Even though Olivier gets the character wrong, and has cut some good lines, he has a natural talent for living well in the language. Even though he's coming from the wrong place, and overly postures, his rendering of the lines comes from a rare genius. Worth experiencing, despite the surrounding distractions.

    -- The costumes are too lush for my tastes, but they fit the set. And my, what a set it is. Except for the cheesy painted sky, this castle is pretty wonderful: lots of colonnaded corridors, mezzanines, stairs, aligned archways. Olivier may be trying to top archrival Orson Wells, but I think he has done very well in using the building to frame the action in a way that is fully cinematic, transcending the stage. The only effect that jarred was the thrice-done long pullback when Claudius conspires with Laertes.

    --The film is in Black and White. Olivier had no choice of course, but it is a happy accident. Allows the photography to be more artistic, better lit, more abstract, just as the mood of the play would have it.

    Bottom line: This is worth seeing to discuss, but the Branagh version is more true and has many fewer distracting blots.
    Snow Leopard

    Memorable Acting by Olivier in Somewhat Slow-Paced Adaptation

    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.

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    कहानी

    बदलाव करें

    क्या आपको पता है

    बदलाव करें
    • ट्रिविया
      When the movie was released, Sir Laurence Olivier said it had been filmed in black and white for artistic reasons. The true reason, as he later admitted, was that "I was in the middle of a furious row with Technicolor".
    • गूफ़
      A clock is heard chiming the half-hour in Westminster chimes. If chiming clocks were invented at the time of the action they wouldn't sound the Westminster chimes which date only - as the name suggests - from the installation of the Big Ben clock in 1859.
    • भाव

      Hamlet, Prince of Denmark: To be, or not to be: that is the question: Whether 'tis nobler in the mind to suffer the slings and arrows of outrageous fortune, Or to take arms against a sea of troubles, And by opposing end them? To die: to sleep; No more; and by a sleep to say we end The heart-ache and the thousand natural shocks That flesh is heir to, 'tis a consummation Devoutly to be wish'd. To die, to sleep; To sleep: perchance to dream: ay, there's the rub; For in that sleep of death what dreams may come When we have shuffled off this mortal coil, Must give us pause: there's the respect That makes calamity of so long life; For who would bear the whips and scorns of time, The oppressor's wrong, the proud man's contumely, The pangs of despised love, the law's delay, The insolence of office and the spurns That patient merit of the unworthy takes, When he himself might his quietus make With a bare bodkin? Who would fardels bear, To grunt and sweat under a weary life, But that the dread of something after death, The undiscover'd country from whose bourn No traveller returns, puzzles the will And makes us rather bear those ills we have Than fly to others that we know not of? Thus conscience does make cowards of us all; And thus the native hue of resolution Is sicklied o'er with the pale cast of thought, And enterprises of great pith and moment With this regard their currents turn awry, And lose the name of action.

    • क्रेज़ी क्रेडिट
      Opening credits prologue:

      So oft it chances in particular men That through some vicious mole of nature in them, By the o'ergrowth of some complexion Oft breaking down the pales and forts of reason, Or by some habit grown too much; that these men - Carrying, I say, the stamp of one defect, Their virtues else - be they as pure as grace, Shall in the general censure take corruption From that particular fault.
    • कनेक्शन
      Edited into Histoire(s) du cinéma: Une vague nouvelle (1999)

    टॉप पसंद

    रेटिंग देने के लिए साइन-इन करें और वैयक्तिकृत सुझावों के लिए वॉचलिस्ट करें
    साइन इन करें

    अक्सर पूछे जाने वाला सवाल20

    • How long is Hamlet?Alexa द्वारा संचालित
    • Why does Hamlet have an incest theme?
    • This version cut the play down from four hours to two-and-a-half. What was the biggest cut?
    • Which of Hamlet's soliloquies have been cut?

    विवरण

    बदलाव करें
    • रिलीज़ की तारीख़
      • 11 जून 1948 (ऑस्ट्रेलिया)
    • कंट्री ऑफ़ ओरिजिन
      • यूनाइटेड किंगडम
    • भाषा
      • अंग्रेज़ी
    • इस रूप में भी जाना जाता है
      • Гамлет
    • फ़िल्माने की जगहें
      • D&P Studios, Denham, Uxbridge, Buckinghamshire, इंग्लैंड, यूनाइटेड किंगडम(studio: made at D&P Studios)
    • उत्पादन कंपनी
      • Two Cities Films
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    बॉक्स ऑफ़िस

    बदलाव करें
    • बजट
      • £5,00,000(अनुमानित)
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    बदलाव करें
    • चलने की अवधि
      2 घंटे 34 मिनट
    • रंग
      • Black and White
    • पक्ष अनुपात
      • 1.37 : 1

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    Hamlet (1948)
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