Hamlet

impressive. strange. monumental. subtle. wall of music, nuanced performances, Shakespeare play heart and Slav soul. it is an adaptation but in a strange manner. because out of words and images, out of Smoktunovski performance it is small light of mystery. that is its virtue. that sparkle like descending in heart of a world of shadows and ash. and the actors, the real actors, are Sostakovici music,the Russian language, the profound feeling front to a masterpiece. it is pure delight. with cinnamon flavor and salt taste. like an ice flower. or like looniest song.it is a dark large desert in night. and, in same measure, sand rope of existence like ladder to fundamental answer about art of unforgettable search of yourself. and Elisabethan costumes completed by Mikhail Nazvanov as Claudius - alter ego for a Henry VIII Philipp II of Spain or Anastasia Vertinskaya as Ophelia - prey of spider web - veil.

I share the previous reviewer's high estimation of this wonderful film. It is a highly political and imaginative interpretation of Hamlet, making Hamlet a man of action who is nevertheless alienated at court. The opening sequence is a stunning interpretation of Hamlet's view that the time is out of joint--Hamlet rushes back to court on horseback even as the flags of mourning are being unfurled. Claudius's speech is delivered by a herald and then translated by ambassadors. When we get to Claudius giving the rest of it to his court, it's not clear how much time, if any, has passed. nor is it clear who is in command (who is giving the orders that the flags be unfurled, cannons fired, the proclamation read, and so on). When Claudius finally addresses Hamlet aft the camera tracks him moving right down the table of courtiers, Hamlet's chair is empty. the opening sequence also moves from open external spaces ( a shot of the sea, a long shot of the land, and moves to increasingly shut in , interior spaces (the castle gates drop as the music gets ominous) to suggest that Denmark is indeed a prison. Visually and musically the film is very rich. I would rank this as the best of the filmed Hamlets.

I have to marvel at the production values in this wonderful film. Exquisite sets, lighting and costumes. Stunning location. Epic original music score by Dmitri Shostokovitsch -- the music alone is more than enough to recommend this film. Great acting by, among others, Innokenti Smoktunovsky as Hamlet. Every scene an artistically complete poem of light and sound. Oh, and if you wonder what it's like to hear Shakespeare in Russian . . . it's great! The translation is by Boris Pasternak, one of the finest poets in any language. An epic treatment of the epic story.

the best adaptation of Hamlet. it is not exactly a verdict. or an impression. it is a profound feeling at each new discover of this special masterpiece. a film like an ice flower. the coldness. the delicate beauty. the moment of touch. it is an impressive mixture of Shakespeare and Russian soul. each as reflection of the other. each as revelation of profound truth. like an ice flower, it is only a detail from the entire picture on the window. the music of Shostakovich, the performance of Smoktunovsky, the costumes, the special sound of words, the new light and shadows of well known scenes, the emotion. it is Hamlet. the same who you knows. and the other who, like the veil - spider web of Ophelia or the air of Elsinore are a never heard message each occasion to see again the film.an ice flower. that , I believe, could be the inspired definition of this remarkable gem.

Cinematographically, this looks fantastic. That might be the most immediately striking thing about this grand Soviet adaptation of Shakespeare's play. The wide sweeping shots the castle, this cliffs, and and the story sea at this Estonian Elsinore as they are swarmed by medieval courtesans and armies is incredibly impressive. The scenes with the ghost of Old Hamlet may be some of the most simultaneously grand and spooky I have seen.

Though in some senses (such as costuming) a traditional Hamlet, this film, perhaps somewhat by virtue of being an adaptation in translation, has a outsider viewpoint that allows to to take liberties with sequence and setting while maintain a feeling of fealty. And this lends itself to the broad-scoped cinematic feel. We first see Hamlet upon his return to Denamrk, we follow him on the ship and on the way back. What changes there are only help suit the material to them medium of film.

Innokentiy Smoktunovskiy is a very good Hamlet and worth of the role. His baseline is quiet and solemn glumness (even for a Hamlet), which makes it the more impressive and disturbing when in his passion or "madness" he is furious or energetic and glib. He is complimented by a great Claudius and a fascinating performance by Anastasiya Vertinskaya as Ophelia, who makes scenes almost difficult to watch with how earnestly she plays having been driven mad.

The film is blessed to have music by the great composer Dmitri Shostakovich, who demonstrates a subtle and masterful hand with film scoring by writing music that doe snot intrude on the film but greatly enhances that mood and really seems to fit the windswept crags of the setting. The translation is by Boris Pasternak, who from while I can incompletely understand seems to eschew completely literalness for a more terse poetry of his own -- a debatable choice but perhaps best for the purposes of film.

In all certainly a huge achievement that can stand among the best of the many screen versions of Hamlet.