Hamlet

Plot synopsis:
=== Act I ===
The protagonist of Hamlet is Prince Hamlet of Denmark, son of the recently deceased King Hamlet, and nephew of King Claudius, his father's brother and successor. Claudius hastily married King Hamlet's widow, Gertrude, Hamlet's mother, and took the throne for himself. Denmark has a long-standing feud with neighboring Norway, which culminated when King Hamlet slew King Fortinbras of Norway in a battle years ago. Although Denmark defeated Norway, and the Norwegian throne fell to King Fortinbras's infirm brother, Denmark fears that an invasion led by the dead Norwegian king's son, Prince Fortinbras, is imminent.
On a cold night on the ramparts of Elsinore, the Danish royal castle, the sentries Bernardo and Marcellus and Hamlet's friend Horatio encounter a ghost that looks like the late King Hamlet. They vow to tell Prince Hamlet what they have witnessed.
As the court gathers the next day, while King Claudius and Queen Gertrude discuss affairs of state with their elderly adviser Polonius, Hamlet looks on glumly. After the court exits, Hamlet despairs of his father's death and his mother's hasty remarriage. Learning of the ghost from Horatio, Hamlet resolves to see it himself.
As Polonius's son Laertes prepares to depart for a visit to France, Polonius gives him contradictory advice that culminates in the ironic maxim "to thine own self be true". Polonius's daughter, Ophelia, admits her interest in Hamlet, but both Polonius and Laertes warn her against seeking the prince's attention. That night on the rampart, the ghost appears to Hamlet, telling the prince that he was murdered by Claudius and demanding that Hamlet avenge him. Hamlet agrees and the ghost vanishes. The prince confides to Horatio and the sentries that from now on he plans to "put an antic disposition on" and forces them to swear to keep his plans for revenge secret. Privately, however, he remains uncertain of the ghost's reliability.
=== Act II ===
Soon thereafter, Ophelia rushes to her father, telling him that Hamlet arrived at her door the prior night half-undressed and behaving crazily. Polonius blames love for Hamlet's madness and resolves to inform Claudius and Gertrude. As he enters to do so, the king and queen finish welcoming Rosencrantz and Guildenstern, two student acquaintances of Hamlet, to Elsinore. The royal couple has requested that the students investigate the cause of Hamlet's mood and behavior. Additional news requires that Polonius wait to be heard: messengers from Norway inform Claudius that the King of Norway has rebuked Prince Fortinbras for attempting to re-fight his father's battles. The forces that Fortinbras conscripted to march against Denmark will instead be sent against Poland, though they will pass through a portion of Denmark to get there.
Polonius tells Claudius and Gertrude his theory regarding Hamlet's behavior, and speaks to Hamlet in a hall of the castle to try to uncover more information. Hamlet feigns madness but subtly insults Polonius all the while. When Rosencrantz and Guildenstern arrive, Hamlet greets his friends warmly, but quickly discerns that they are spies. Hamlet becomes bitter, admitting that he is upset at his situation but refusing to give the true reason why, instead commenting on "what a piece of work" humanity is. Rosencrantz and Guildenstern tell Hamlet that they have brought along a troupe of actors that they met while traveling to Elsinore. Hamlet, after welcoming the actors and dismissing his friends-turned-spies, plots to stage a play featuring a death in the style of his father's murder, thereby determining the truth of the ghost's story, as well as Claudius's guilt or innocence, by studying Claudius's reaction.
=== Act III ===
Polonius forces Ophelia to return Hamlet's love letters and tokens of affection to the prince while he and Claudius watch from afar to evaluate Hamlet's reaction. Hamlet is walking alone in the hall as the King and Polonius await Ophelia's entrance, musing whether "to be or not to be". When Ophelia enters and tries to return Hamlet's things, Hamlet accuses her of immodesty and cries "get thee to a nunnery," though it is unclear whether this, too, is a show of madness or genuine distress. His reaction convinces Claudius that Hamlet is not mad for love. Shortly thereafter, the court assembles to watch the play Hamlet has commissioned. After seeing the Player King murdered by his rival pouring poison in his ear, Claudius abruptly rises and runs from the room: proof positive for Hamlet of his uncle's guilt.
Gertrude summons Hamlet to her room to demand an explanation. Meanwhile, Claudius talks to himself about the impossibility of repenting, since he still has possession of his ill-gotten goods: his brother's crown and wife. He sinks to his knees. Hamlet, on his way to visit his mother, sneaks up behind him, but does not kill him, reasoning that killing Claudius while he is praying will send him straight to heaven while his father's ghost is stuck in purgatory. In the queen's bedchamber, Hamlet and Gertrude fight bitterly. Polonius, spying on the conversation from behind a tapestry, makes a noise.
Hamlet, believing it is Claudius, stabs wildly, killing Polonius, but pulls aside the curtain and sees his mistake. In a rage, Hamlet brutally insults his mother for her apparent ignorance of Claudius's villainy, but the ghost enters and reprimands Hamlet for his inaction and harsh words. Unable to see or hear the ghost herself, Gertrude takes Hamlet's conversation with it as further evidence of madness. After begging the queen to stop sleeping with Claudius, Hamlet leaves, dragging Polonius's corpse away.
=== Act IV ===
Hamlet jokes with Claudius about where he has hidden Polonius's body, and the king, fearing for his life, sends Rosencrantz and Guildenstern to accompany Hamlet to England with a sealed letter to the English king requesting that Hamlet be executed immediately.
Demented by grief at Polonius's death, Ophelia wanders Elsinore. Laertes arrives back from France, enraged by his father's death and his sister's madness. Claudius convinces Laertes that Hamlet is solely responsible, but a letter soon arrives indicating that Hamlet has returned to Denmark, foiling Claudius's plan. Claudius switches tactics, proposing a fencing match between Laertes and Hamlet to settle their differences. Laertes will be given a poison-tipped foil, and Claudius will offer Hamlet poisoned wine as a congratulation if that fails. Gertrude interrupts to report that Ophelia has drowned, though it is unclear whether it was suicide or an accident exacerbated by her madness.
=== Act V ===
Horatio has received a letter from Hamlet, explaining that the prince escaped by negotiating with pirates who attempted to attack his England-bound ship, and the friends reunite offstage. Two gravediggers discuss Ophelia's apparent suicide while digging her grave. Hamlet arrives with Horatio and banters with one of the gravediggers, who unearths the skull of a jester from Hamlet's childhood, Yorick. Hamlet picks up the skull, saying "alas, poor Yorick" as he contemplates mortality. Ophelia's funeral procession approaches, led by Laertes. Hamlet and Horatio initially hide, but when Hamlet realizes that Ophelia is the one being buried, he reveals himself, proclaiming his love for her. Laertes and Hamlet fight by Ophelia's graveside, but the brawl is broken up.
Back at Elsinore, Hamlet explains to Horatio that he had discovered Claudius's letter with Rosencrantz and Guildenstern's belongings and replaced it with a forged copy indicating that his former friends should be killed instead. A foppish courtier, Osric, interrupts the conversation to deliver the fencing challenge to Hamlet. Hamlet, despite Horatio's pleas, accepts it. Hamlet does well at first, leading the match by two hits to none, and Gertrude raises a toast to him using the poisoned glass of wine Claudius had set aside for Hamlet. Claudius tries to stop her, but is too late: she drinks, and Laertes realizes the plot will be revealed. Laertes slashes Hamlet with his poisoned blade. In the ensuing scuffle, they switch weapons and Hamlet wounds Laertes with his own poisoned sword. Gertrude collapses and, claiming she has been poisoned, dies. In his dying moments, Laertes reconciles with Hamlet and reveals Claudius's plan. Hamlet rushes at Claudius and kills him. As the poison takes effect, Hamlet, hearing that Fortinbras is marching through the area, names the Norwegian prince as his successor. Horatio, distraught at the thought of being the last survivor and living whilst Hamlet does not, says he will commit suicide by drinking the dregs of Gertrude's poisoned wine, but Hamlet begs him to live on and tell his story. Hamlet dies in Horatio's arms, proclaiming "the rest is silence". Fortinbras, who was ostensibly marching towards Poland with his army, arrives at the palace, along with an English ambassador bringing news of Rosencrantz and Guildenstern's deaths. Horatio promises to recount the full story of what happened, and Fortinbras, seeing the entire Danish royal family dead, takes the crown for himself.

Tags: tragedy, insanity, revenge, humor, murder

Review:
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.
Maybe if the ghost had revealed himself to Horatio, to Polonius, the Queen even, Hamlet's duty would have been clear.In the supporting cast I liked Eileen Herlie as the Queen, Jean Simmons as Ophelia, Felix Aylmer as Polonius, and most of all Terrence Morgan as Laertes.
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.
For years I've considered the classical soviet screen-version of Hamlet directed by Kozintsev (1964) as the best adaptation of the play.
In the middle of all this is Hamlet's love Ophelia (Jean Simmons), who is completely confused --- and hurt --- by Hamlet's increasingly bizarre behavior.Like the Zeffrilli/Gibson and Branaugh versions of Shakespeare's classic that followed, Olivier's adaptation is a mostly excellent film with several annoying flaws keeping it just out of reach of greatness.Olivier is superb as Hamlet --- especially when delivering the soliloquies, several of which are genuinely powerful.
It creates extraordinary images and energy that make many scenes unforgettable --- without calling too much attention to itself.William Walton's creepy music adds a lot.Finally, the climactic fencing scenes are genuinely great  easily the best fencing scenes in a version of Hamlet and possibly among the best in film history.However, despite many great scenes, the movie never creates the emotions it needs to really make the blows come.
Olivier gets away with this butchery on the basis of his roaring egotism (which finally leads to a roaring Hamlet to the end) and the fact that his is one of the most careful directions of the play-as-film to be found on film.Which of course leads me to the positive aspects of the film.
I've rarely felt a film so successfully blend claustrophobia and depth - this is accomplished through careful juxtapositions of scenes of high-contrast black & white with scenes filled with grey fog; only Hitchcock could have done better (but of course Hitchcock would never have made Hamlet).And although Olivier's performance is really over the top, he wisely makes sure that all the other actors get to come close to that level, especially the actor playing Hamlet's nasty step-dad.
So the film vibrates with energy almost from the get-go and all the way to the end.I keep trying to see every film version of Hamlet i can find, to see if the final, absolutely really and truly definitive version of Shakespeare's play (and not Olivier's version of it) might yet be viewed; but until then, this will have to do..
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!
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.
Sir Lawrence Olivier does a remarkable job at directing this film (He also plays the role of Hamlet).
The castle is just WAY too big and full of odd, useless spaces that were probably meant to give you a sense of Hamlet's confusion and isolation but instead had me thinking about how big the soundstage must have been to build all these sets and what a pain it must have been to film and the tracking shots as the actors moved around.
In this version, you keep wondering why this middle-aged man can't get it together.As for Olivier's talents -- well, he certainly does have the technical ability to speak Shakespeare in a way that generally makes sense of the words -- but good phrasing is NOT the same thing as being able to ACT it well.In all, there was not one aspect of this film that made me think it was worth watching it.
Having already some familiarity with the works of William Shakespeare (by no means, am I an expert, but I know some things), I judged it was time to see how Olivier himself treated one of the Bard's most famous works.Well, the first impression I got from watching this movie is that it is quite obviously a labor of love.
But, like I said, it was a labor of love, and it does mark two firsts in Oscar history: The first movie directed by its star, and the first independent film, to win Best Picture.For purists and those who study Shakespeare, this presentation is the one to watch.
But his _Hamlet_ is his most egregious error.The problem with Olivier is never in the acting itself, but in the way he decides to play the character at the outset.
It has taken people like Zeffirelli and Branagh (yes, he's British trained, but considered quite radical) to embrace the cinematic possibilities of Shakespeare instead of being bound by the conventions of theatre.None of this makes Olivier's _Hamlet_ a film to avoid at all costs.
But given the choice, see the Branagh, or the Zeffirelli-Gibson, or even Nicol Williamson's version (similarly stagy, but at least with Anthony Hopkins as Claudius and a strange but interesting performance by Marianne Faithfull as Ophelia).One side-note:  If you want to use Olivier's title, it is properly Lord Laurence, not Sir.
It seems almost heretical to say over fifty years after Olivier's Oscar-winning film has passed indisputably into the realm of "classic," but the fact of the matter is that this is a badly butchered and only tolerably performed adaptation of Shakespeare's play.
Olivier and text editor Alan Dent cut the script to the bone, eliminating not only the character of Fortinbras (who is a common casualty of the editor's pen), but Rosencrantz and Guildestern (who are indispensable to depicting a complete version of the story).Most of the acting is forgettable, with only Academy Award nominated Jean Simmons making any impact as the tragic Ophelia.
Olivier is frankly wooden in the role (his 1937 stage performance was universally panned), making one realize that Hamlet was never really his part and that posterity would have been better served if he's left this play alone and instead filmed one of his stage successes such as Macbeth or Titus Andronicus.Olivier's success comes as a director rather than an actor, depicting Elsinore as a gloomy and forbidding haunted castle.
(Compare this to the ludicrous display of Kenneth Branagh throwing a magic rapier from across the palace to hit a super hero's bulls-eye into Claudius' heart in the vulgar and miscast 1996 film and you'll see what I mean.) Olivier's "Hamlet" was an important milestone in it's day, but is badly dated and does not stand up well to more recent productions such as Derek Jacobi's 1978 BBC production with the pre-Star Trek Patrick Stewart as a magnificent Claudius (in my mind the definitive screen "Hamlet") or the filmed record of the John Gielgud/Richard Burton 1964 Broadway production (which is truer to the play's theatrical roots).
I understand that Laurence Olivier called his adaptation of William Shakespeare's masterpiece more of a study of "Hamlet" than a direct adaptation.
That is understandable given the challenge of adapting a four hour play into a 2.5 hour film and determining what cuts to make and where.The direction, also by Olivier, has room for improvement.
Prince Hamlet (Laurence Olivier) struggles over whether or not he should kill his uncle, whom he suspects has murdered his father, the former king."Hamlet" was the first British film to win the Academy Award for Best Picture.
Stranger still, the first sound version was actually in Urdu.Olivier excised the "political" elements of the play (entirely cutting Fortinbras, Rosencrantz and Guildenstern) in favor of an intensely psychological performance, partly to save time.
It does not include characters like Rosencrantz, Guildenstern or Fortinbras and omits famous words like "O what a rogue and peasant slave am I" and "How all occasions do inform against me."  I like the film noir atmosphere but disliked Olivier portrayal of Hamlet as being weak, indecisive and having some Oedipus complex.
By the way, for my money, the best Shakespeare on film my be Macbeth by King Orson with Mel's Hamlet a bit behind but still far preferable to the very narcissistic Hamlet that Olivier provided..
Mankiewicz, and this version of Hamlet, perhaps the darkest of them all, by the man who made Shakespeare cinematic, Laurence Olivier.Despite being centuries old, the plot of Hamlet sounds like the archetypal film noir  treachery, revenge, ironic tragedy, ambiguous morality and most importantly of all a central character who repeatedly suffers through his own lack of willpower, and for whom there is no hope of a happy ending.
A fascinating, drastically shortened adaptation of Shakespeare's probably most cited work which reveals many impressive moments and scenes (i.e. spooky Hamlet Sr. appears his son for the first time; the stage scenes; Ophelia's death etc.).
Olivier's dark and depressing vision of "Hamlet" works well as a cut-down version of Shakespeare's play.
At its worst, this film can be viewed as "Hamlet's Greatest Hits," but I think Olivier chose his cuts well, and he ends up with a fairly powerful condensed version of the story.Of course, as an elitist ex-English major, I prefer Branagh's comprehensive four-hour version.
Interestingly, Branagh avoided "slowness" in his Hamlet by actually making the setting bright and attractive; in his adaptation, the real darkness was in the characters themselves, not their environment.Still, Olivier's film is solid work, and well-deserving of its recognition at the Oscars.
There were beautiful souvenir program booklets available, as for a stage production, and most attentive audiences.Olivier's careful cutting the play from 4 to 2½ hours enhanced the cinematic experience, and attracted large "crossover" audiences.The film's awards speak for themselves: Oscars for Picture, Lead Actor and Acress, Art Direction, Set Decoration and Costumes.
Eileen Herlie was a bit young at only 28 years old to play mother to Lord Laurence Olivier's Hamlet who was probably older than she was at the time but you can't imagine a better actress to play Gertrude, Queen of Denmark.
She looks great and is still working occasionally on "All My Children." So if you want a true classic Hamlet to show people, this film version is perfect despite that it is black and white.
Certainly, this is the best version of Hamlet on film.The acting, direction, camera work, staging, costumes, lighting, language, and music are all pitch-perfect.
Hamlet is a take on William Shakespeare's classic play that Sir Laurence Olivier directed and starred in.
While Olivier obtained four Oscars during his long and prolific career, Hamlet is the only film for which he won a best actor award.
Olivier's other Oscars besides the two for Hamlet, came from a special award for his work on his first film, Henry V, and a lifetime achievement award given to the knighted actor in 1978.
Laurence Olivier's "Hamlet" is an adaptation of William Shakespeare's legendary play of the same name.
Jean Simmons (then only 18 years old) was the only other actor to secure an Oscar nomination but Felix Aylmer's entertaining Polonius deserves singling out as well.Olivier's direction wasn't quite on the level of his acting but it's not far off.
Laurence Olivier directed, shaped the dialogue adaptation, and starred in this first spoken film version of Shakespeare's Hamlet.
Jean was nominated for an Oscar for her performance, and Larry won both Best Actor and Best Picture at the 1949 ceremony.While there was great attention to detail in the sets, costume, and direction of this version, it's not my favorite.
Hamlet, Prince of Denmark is feeling down.His father has passed away.One night the late King Hamlet appears and says to his son he was murdered by his brother Claudius, who now is sitting on his throne and his dear wife Gertrude has become the Queen for his brother.Now his son Hamlet must revenge his unnatural death.William Shakespeare is believed to have written the tragedy of Hamlet between 1599 and 1601.I've read it and it was something very special.It deals with some great themes.Movies that are made of the topic seem to work.This is the 1948 Hamlet directed by Laurence Olivier.He also acts the lead.Sir Laurence Olivier was a Shakespearean actor with a capital S.He had Shakespeare in his blood.Olivier got a very well deserved Oscar from his portrayal.The wonderful Eileen Herlie plays Hamlet's mother.It's not any problem that at the time of filming Eileen was 28 while Sir Laurence was 41.The mother-son relationship portrayed there isn't what you could call normal love a son feels for his mother.It's more of something very oedipal.Basil Sydney does his portrayal of the villain, Claudius, The King very well.Jean Simmons does the role of the lovely Ophelia, daughter of Polonius.It's a treat to your ears hearing her beautiful singing, and at the same time awfully tragical.Terence Morgan plays her brother Laertes.Norman Wooland plays Hamlet's friend Horatio.Also Christopher Lee is seen there in an uncredited role as Spear carrier.And one extra part is with Desmond Llewelyn.This movie looks very good.The camera moves slowly in the castle of Elsinore and you feel like you're there.Some beautiful words are spoken in Hamlet.To be, or not to be: that is the question, good night, sweet prince...There are many, many more.I suggest you will go to your bookshelves now and read the play of Hamlet.After that you watch the movie.That is the noble thing to do..
Laurence Olivier is "Hamlet" in this 1948 version of Shakespeare's play.
For his film version of Richard III, he deliberately made the setting look false, making the point that, if you gave the audience a realistic-looking setting, they would then ask, "Why are these people talking so funny?" Similarly, for Hamlet, the castle is a stark, huge affair, standing in the midst of fog, and unusual camera angles are used to make some stunning shots.The text of the play is heavily cut, and two characters, Rosencrantz and Guildenstern are indeed dead - they don't exist here.
I thought Basil Sydney as King Claudius was wooden and Jean Simmons as Ophelia was overly theatrical despite her Academy Award nomination.Overall, I commend Laurence Olivier for directing a complex film and portraying a multi dimensional character.I want to end with a footnote.
Holden Caulfield's take on Laurence Olivier's 1948 film version of Hamlet.
Laurence Olivier directed himself to a Best Actor Oscar for his performance as the brooding Dane, and he brought a satisfyingly stark and chilly look to the film that fits its tone and themes, but despite his immense efforts to prove otherwise, the film more than anything proves that Shakespeare belongs more on stage than it does on screen.
(This was the first of only two movies in which a director directed himself to his own Oscar-winning best actor performance.)Olivier was 41 when he played Hamlet, but he got past this hurdle with his incredible talent, his acting experience, and his lithe, athletic grace.
Although Olivier's Hamlet won't be to everyone's taste, it's an essential movie for anyone even moderately interested in film adaptations of Shakespeare's greatest play..
Hamlet (1948) *** (out of 4) Highly impressive version of the Shakespeare tale has Laurence Olivier direction and also playing the title role.
In his writing Shakespear must have come up with a once again emotionally charged finale involving fatal poison and loss of life and a great scene in which a young prince is visited by the ghost of his father and even the backstabbing sub plot to his murder but to have the play endure he could come up with nothing better than having the character lamenting on the rights and wrongs about obeying his fathers request, as for chosing not to kill the man when he will be forgiven because it is not a satisfying revenge Hamlet is not such a self-righteous character after all is he.Olivier is a standout but Ofelia delivers an airhead performance demonstrating a lack of Directing skill or a lack of acting skill.
It's been quite some time since I've read it or seen it performed but I would guess that Olivier cut a good third, if not more, of the play for this film version.
Olivier also plays the ghost of Hamlet's father in the film and does a fantastic job in that role too.Speaking of Ophelia, the 18-year-old Jean Simmons is excellent, playing the role with a remarkable level of subtlety for someone of her age and comparatively limited acting experience.
I have read 'Hamlet' though, and I must say Laurence Olivier's cinematic version is very, very good.Olivier sustains my interest in Shakespeare like no other actor.
When shown in my Shakespeare on Film class last semester, this version of Hamlet did not play well.
That statement's a bit ridiculous and my classmates showed a great deal of immaturity, but I will say even I was disappointed with this version of Hamlet.It's a good movie no doubt about that: Olivier was right to shoot the film in black-and-white as it adds to the foreboding atmosphere.