Hamlet [1948]

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Editorial reviews

Amazon.co.uk Review
In the opening scene of Hamlet, Laurence Olivier describes the play in a voice-over as "the tragedy of a man who couldn't make up his mind". But Olivier's screen adaptation is considerably more thoughtful and complex than this thesis would suggest. The contradictions and ambiguities of the title character, who prowls cavernous sets filled with vast, ancient corridors and winding staircases, emerge as if from a dream. The plethora of tracking shots--precise enough to impress Stanley Kubrick--encircle Olivier and his tightly constructed geometry of demise. Drawing on his experience playing the Prince on stage at Elsinore in 1937, the legendary thesp provides the film with the patina of greatness and shows how the constitution of the formerly cheerful Prince weakens increasingly under the burden of his own thoughts and inability to accept his mother's o'er-hasty marriage to uncle Claudius (Basil Sydney). Indeed, if emotions could possess ghosts, Olivier's Hamlet shows how they would manifest themselves. There is even a dollop of Freud, suggesting that Queen Gertrude (Eileen Herlie) has perhaps loved her offspring too closely--thus providing the fuel for Hamlet's actions. As Ophelia, Jeans Simmons captures the character's early spirit better than her gradual disintegration (Helena Bonham Carter fares better in Franco Zeffirelli's fine 1990 remake). Purists may bemoan the loss of Fortinbras, Rosencrantz and Guildenstern, but these choices allow Olivier to focus more squarely on Hamlet's plight. His monologues, many held in secret enclaves, glow with the dramatic markedness of a Dostoevski novel, with all of the master's irony, allusions and witticisms in place. The winner of four Oscars (Best Picture, Actor, Art Direction, and Costumes), this is a Hamlet for the ages. The rest is silence. --Kevin Mulhall

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Customer reviews

review by: ALICE AND MARY date: 2008-10-27 rating:
NO EXPRESSION
HAVE NONE OF YOU SEEN THE KENNETH BRANAGH HAMLET? Laurence Olivier delivers his lines with little or no expression, varying only between monotonous, feelingless prose and loud proclamations! BUY THE KENNETH BRANAGH VERSION- AND WATCH HIS DELIVERANCE OF 'ON HIM'- IN THE POLONIUS DEATH SCENE- IN SHOCK AND AWE!!!!!!!!!!!!!! 20 billion, million, trillion times more subtle and ultimatley heartbraking.

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review by: date: 2008-10-09 rating:
Olivier delivers a fantastic adaptation of classic tragedy
After seeing a ghost of his father King Hamlet, Prince of Denmark Hamlet (Olivier) goes into madness as he learns the truth of his father's death.

Based on William Shakespeare's tragedy, Laurence Olivier's (Sleuth) picture depicts the play expertly, filled with brilliant performances, direction and a chilling climax.

Olivier directs and stars for this picture, and was the first person to direct themselves towards an Oscar, a remarkable achievement in the Englishman's career, and described as one of his finest onscreen performances of all time.

Though Olivier looks slightly old to play the role of the young Prince, there is no question about his performance as he gets it absolutely spot on, with very dramatic motives, using the text to his knowledge, especially the use of prose and blank verse and to direct himself in such a drastic dynamic way whilst delivering this remarkable performance will never be praised enough.

His long and slow direction helps achieve the delicacy of the character, and of the dramatic turn of events in Denmark, and though Olivier shines throughout, the whole concept of madness and the play is the ultimate star of the show.

Shakespeare's controversial tragedy is brilliantly adapted and contains very strong drama, filled with strong ideologies of loyalty, truth and betrayal, but particularly madness.

When Hamlet hears of his Uncle's actions, we see the Prince act very strangely and are immediately guessing what is going through his mind, which we soon find out through the use of soliloquies, where we see the deepest desires and thoughts inside Hamlet's heart. All the famous quotes including "To be or not to be" and "The play's the thing" are the key moments and stand out come the end of the film, which takes a while to come.

Olivier gets every element in apart from Rosencrantz and Guildenstern, which he received criticism for. Though brilliant, this is an exceptionally long and drawn out film, which may test your patience.

There are a few lapses but ultimately this is one of Shakespeare's finest adaptations and helped me a lot when studying for my English A level. Finely acted and superbly directed, Olivier has created a landmark in the drama genre and is one of the finest adaptations of all time.

8.5/10

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review by: Yaughan date: 2008-02-26 rating:
Laurence Olivier
This is probably Laurence at his best. He struggled with Othello, very obviously a white actor trying to play a black man. His Lear was better, but not as good as Michael Horden's. His Henry V was good but rather a case of the Brits trying to cheer themselves up at a difficult time. I do notice that you've gone very politically correct by presenting it as a play by Jean Simmons.

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review by: date: 2007-12-24 rating:
A tragedy about a man who couldn't make up his mind
Having just finished reading the play,I was keen to view this classic 1948 film of "Hamlet" which stars Laurence Olivier as the tragic Danish prince. The film is fairly faithful to the play and it's acting and direction are both first rate. I thought that everything about this film seemed to convey Shakespeare's vision of the play perfectly ,especially the gothic citadel of Elsinore and it's rich tableau of characters .The plot of "Hamlet" is well known; Hamlet succumbs to madness after the ghost of his father asks him to avenge his murder by his brother (Hamlet's uncle) ,the new king. This madness appears to be the result of Hamlet's indecision and inaction in response to the ghost's request. Should he plot bloody revenge on his father's killer as the ghost demands ,or should he do nothing ? To be,or not to be. Should he give in to evil or not ? Sadly Hamlet yields to the bloody appeals of the ghost and a series of untimely deaths bring this dramatic story to it's conclusion. This film version of "Hamlet" is excellent and it still makes for captivating viewing.


review by: date: 2007-06-12 rating:
A Great Movie...Exciting, Tragic, Engrossing...But Most Of All, Cinematic
I'm no more competent to discuss Hamlet as literature than I am to ride a horse. So let's talk about it as a story and as a movie. On both counts, this version -- shaped and edited, directed by and starring Lawrence Olivier -- is powerful and engrossing. You have to sit back and allow yourself to get into the rhythm of blank verse. You have to accept the nature of classic British acting's Shakespearean diction...precise and a little declarative. If you can manage this, you'll be rewarded with a fine cinematic experience.

The story is so well known that it doesn't need much repeating. A son's father dies. He suspects murder by the man who subsequently married his mother. The ghost of his father seems to confirm this. He is determined to pursue vengeance. He eventually succeeds but at a cost of many lives lost due largely to his own demons. "...the ghost and the prince meet, and everyone ends in mincemeat," is how lyric writer Howard Dietz put it. The story is a gripper. Shakespeare's words aren't bad, either.

What do I like about the movie? First, Olivier's ruthless approach. He believed people should remember that Shakespeare wrote for the stinking, scratching, fornicating masses (and, of course, to curry favor with the Tudors). The groundlings might appreciate a good weeper tragedy, but if they didn't come to fill the standing area and pay the entrance fee, William Shakespeare wouldn't have much of a career as a playwright. Olivier edits, cuts and rearranges the text because he's taking a centuries-old stage play and turning it into a strongly-paced, dramatic...movie. There's no time or room for Rosencrantz and Guildenstern, and "Oh, what a rogue and peasant slave am I" gets the heave-ho, among other soliloquies. The result is a movie which is tightly focused on the story and on Hamlet's conflicted character.

Second, Olivier's version of Hamlet the man. This prince of Denmark may be introspective, suspicious and more than a little self-centered, but when the times call for it, Hamlet is a man of action. The closing sword fight is a lengthy and brutal fight to the death. You'll want to take a step back and watch again when Olivier leaps from a parapet straight onto Claudius, crashes with him onto the stone floor, then takes his sword and thrusts deep into Claudius' chest over and over again. This is Olivier's Hamlet, not Shakespeare's stage directions. The groundlings would have loved it.

Third, the other actors, especially Basil Sydney as Claudius and Jean Simmons as Ophelia. Simmons was 18 when she made the movie. She'd already had major parts in films such as Great Expectations and Black Narcissus, but this was the first major Shakespearean role she'd ever played. Her Ophelia is so innocent and vulnerable it almost skewers the film; as it is, however, it underlines that Hamlet is not simply a man torn by grief and revenge. There is something more twisted going on within him. Sydney does a wonderful job as the King, Hamlet's stepfather and the lustful husband to Hamlet's mother, Gertrude. When Gertrude gives Hamlet a goodnight kiss, it is easy to assume that something erotic, something other than motherly love, is at play in the relationship between Gertrude and Hamlet. Sydney's Claudius is so pleased with being king, so eager to bed Gertrude at any opportunity that it's possible to almost like the man. He may be suspicious of Gertrude's love of her son, but he just doesn't want to know too much. Sydney makes Claudius' faults of ambition and lust easy to understand.

Fourth, the look of the film. Olivier has created a black-and-white vision of austere camera angles, with heavy stone stairways and battlements, fog and shadows, great dining halls that are damp and chilly. His Hamlet is also startling...blond, heavy lidded, too able to smile coldly. Yet when Hamlet's death finally comes, after revenge, betrayal and having followed his destiny, it causes an uneasy and deep feeling of retribution for his flaws. It was a sad, almost pointless loss. Olivier stages a flamboyant death for his Hamlet, but one which underlines all this. Countless high school students have giggled over "Good night, sweet prince, and flights of angels sing thee to thy rest." They might not this time.

Hamlet can be played in so many ways; Olivier's version might not be your version. For me, this movie is so good because it works as a dramatic movie. It's exciting, tragic and cinematic. And for all those who may remain giggling high school students at heart, tell them to watch the movie and see if they can spot in bit parts Peter Cushing and Christopher Lee. The Criterion version looks and sounds very good. There are no extras.

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