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: murder

Review:
For those looking for a strictly cinematic version of "Hamlet" you should probably look elsewhere, but for a theatrical experience of the classic tale of the Melancholy Dane, you could do worse than pick up this version of the 1964 Broadway production starring Richard Burton.Essentially a photographed performance of a stage production, this "Hamlet" was directed by John Gielgud with the concept of being a dress rehearsal (to pacify Richard Burton's dislike of wearing period costume) with actors in street clothes and bare bones set and props.
The concept falls flat but Gielgud does a fine job of staging the action (the convention of showing the ghost as a massive shadow voiced by Gielgud works wonderfully well), making one wish that he'd used a more conventional look for the show.
The cast is decidedly uneven, ranging from brilliant (Hume Cronyn in his Tony-winning role as Polonius) to incompetent (Alfred Drake as a rather hopeless Claudius).
While Burton is hardly the definitive Hamlet, frequently resorting to vocal pyrotechnics which are ultimately meaningless, there is no doubting his intelligence or brooding charisma in the role.
He may not have hit a bull's eye, but he is so far beyond such recent mediocre Hamlets as Ethan Hawke, Kenneth Branagh and Mel Gibson that his performance truly gives the viewer a splendid example of what a distinguished classical actor is capable of.
His handling of the soliloquies (especially "Oh, what a rogue and peasant slave am I") are very effective indeed.Those who quibble with the lack of close-ups or iffy cinematic qualities are missing the point of the experience: the faraway perspective makes the viewer fell like they are seated at an actual live performance at the Lunt Fontanne Theatre in 1964, and gives a much more uniquely theatrical experience than attempts to "cinemize" the play such as Branagh's vulgar and miscast film version or Olivier's celebrated bowdlerized adaptation (whose gutting of the text frequently plays like "Hamlet's Greatest Hits").Not much thought was given to the Special Features of the DVDs: the listing of the awards won by Burton, Cronyn and Gielgud are laughably incomplete, and it seems to me that the producers missed an opportunity by not including observations by a living cast member on a second voice track (cast members William Refield and Richard L.
Sterne each wrote books on the production, and it might have been rewarding to hear the remembrances of Hume Cronyn or John Cullum or Alfred Drake on this DVD).But despite it's faults, this is a valuable little treasure for anyone with serious interest in Shakespeare's play and a unique opportunity to see a memorable theater production without leaving your living room..
Difficult to find since it is essentially a video taping of a Broadway performance, but this is a Hamlet not to be missed!
Under the firm directorial hand of John Gielgud, Richard Burton creates one of the memorable Hamlets.
Still, Burton vividly demonstrates that he could have been the first classical actor of his generation had he focused on that phase of his career.
Gielgud appears as the Ghost of King Hamlet and is magnificent in the role.
Who plays the Player Queen in this version (yes, Player Queen)-- a very young Christoper Culkin.
Burton had instructed that after a limited theatrical release all copies of this were to be destroyed.
It is fortunate for those of us who love this play and love great classical acting that somewhere someone failed to follow instructions.
Whereas it is true that this version of "Hamlet" with Richard Burton in the title role was a hit on Broadway, that's just part of the story behind the video release.Burton had become an immensely popular actor after his scandalous marriage to Elizabeth Taylor during the rigors of filming "Cleopatra," in which he played the love-crazed Mark Anthony.
After that film's long-delayed release (late 1963), the pair became "Hollywood royalty" with a world-wide following.Developers/producers of Electronovision capitalized on their phenomenal popularity by arranging the taping of a dress rehearsal.
It was released theatrically during the course of the play's Broadway run.Electronovision was another version of closed-circuit TV; hence, the master videotape is in black-and-white.A later try with Electronovision was the 1965 closed-circuit, theatrical release of "Harlow," which starred Carol Lynley as 1930s movie actress Jean Harlow.
It barely preceded the 1965 film of the same name (Carroll Baker in title role).
Although that film was forced to rush through production, it didn't finish in time to be the "first."Critics of that period, who were not all impressed with this "new medium," really lashed out at this one, which they claimed went "against all ethics."To my recall, that controversy ended Electronovision..
Crude, black-and-white filming of a famous Broadway production: it feels like a shadow from the past.
I didn't know a record of this famous production existed until I found it on DVD at the library.
John Gielgud directed Richard Burton in "Hamlet," an acclaimed production in modern dress that was eventually recorded with a process called Electronovision and released in movie theaters.
What's fascinating is that this is a record of an actual Broadway performance before an audience; the actors make no concession to the cameras and change nothing.
The black-and-white process is crude, far inferior to that of recent stage shows presented on PBS.
It felt like a shadow retrieved from the past: I thought of the filmed dream from "Quatermass and the Pit."Richard Burton makes a fine Hamlet, more virile and physical than most; his intellectual side is de-emphasized but far from lost; and he's funny.
The rest of the cast is uniformly good, but Hume Cronyn stands out as Polonius.
He's so good, so funny, so able to bring out both the wisdom and the foolishness of the character that until he's dispatched, the play feels like the "Hamlet and Polonius Show."Happily a year ago, I found at a thrift store a book by Richard L.
Sterne (one of the minor players in this production) called "John Gielgud Directs Richard Burton in Hamlet." It includes transcripts of Gielgud directing the cast, the prompt script Gielgud created, and Sterne's interviews with Burton and Gielgud.
There is no point in my inveighing on the merits of the play, but to anyone who might have fixed ideas about the capabilities and limitations of certain well-known Broadway actors, it will be a revelation.
The fact that you are even thinking about watching this means that there is a high probability that you will like it, since you either like the play or like Burton or both.
Any fan of Burton will delight in his performance and any lover of the play should appreciate the no-frills approach.
This is not really a movie, but the filming of an actual stage performance presented in front of an audience.
By design the production is carried out as though it were a dress rehearsal, with minimal props and most actors appearing in street clothes.
Close-ups are good and actually have a quality that is reminiscent of certain contemporary independent films, but shots of the stage filmed at a distance are not as satisfactory.
In any case, since Electronovision seems to have met an early death, you are not likely to see anything like this again.Burton's Hamlet is not so melancholy, but rather angry, sardonic, and impish.
Hume Cronyn turns in a memorable performance as Polonius.It is interesting to contrast this with Branagh's complete-text film which is in color and very much a movie and not the filming of a stage play.
Burton's Hamlet is another example of how every production of this play is unique.
This is not a film of Hamlet in the traditional sense.
It is a filmed version of the famed 1964 Broadway production starring the late, great Richard Burton.
This version was shown for four performances only on two days in 1964 and then was supposed to be destroyed and thus lost to future generations.
But Burton had a copy and thanks to this we have this film.
And we should be glad because we nearly lost one of the best versions of Hamlet ever to grace any screen.Because of the fact it was filmed during a dress rehearsal, it does not have the lavish period sets, costumes, etc.
This is in fact a far different version in that regard.
This version is down with the most minimal of sets and in modern (1960's), even casual clothing.
This is not the film for those of you who think Shakespere means lavish costumes and sets.
This is a film that focuses on the actors and the words of Shakespere.
And that is what makes this film unique.
The props and costumes are minimal and this serves at times to distract from the performances which is a shame, since it really the only flaw of the filmed version of the production.But this is a film that showcases the power of Shakespere.
Richard Burton is at the height of his powers in the title role.
He never fails to capture the character and this is nothing short of a great performance.The rest of the cast is terrific as well.
Hume Cronyn is terrific as Polonius playing a bumbling and, at times, oxymoron version of the character (for which I do believe he won a Tony Award).
Linda Marsh is particularly impressive as the love struck Ophelia and has great chemistry with Burton making their relationship all the more believable.
Add on other great actors and an appearance by George Voskovec as the Player King and even a cameo by the play's director Sir John Gielgud as the ghost of King Hamlet to the mix as well.Overall despite the limitations of this stage version, this is a terrific version of Hamlet.
It is carried not by the usual sets and costumes but by the sheer power of actors and some of the greatest words ever to be put to page.
If you are going the different versions of Hamlet, this would be a good place to start.
See not only a great play, but an acting legend at the height of his powers.
These are the reasons to see this version of Hamlet..
Looking at this stage performance on dvd (and thank goodness it is available !!!) you will probably start with thinking: well, this is a relic, and so it will be great.
Within this HAMLET, so classical and so brilliantly played, breathes the 60ies.
I saw Burton do this on Broadway in June, 1964.
Certainly, this is not a particularly brilliant PRODUCTION of Hamlet, but Burton's performance - indeed his very presence - transformed me completely.
I don't know that film or videotape can translate the effect of the live person of so dynamic an individual, but it can give a hint of what the experience must have been like.When he died in 1984 (too soon!), the NY Times reviewer said that Burton didn't just belong on the stage, but that the stage was his by divine right.
It was a divine epiphany.By the way, there are a few other gems in this production (Hume Cronin, for example) - and a few clinkers (Alfred Drake).
The greatest vocalization Hamlet's pain and Shakespeare's words ever..
A previous reviewer misleadingly said, "Because of the fact it was filmed during a dress rehearsal, it does not have the lavish period sets, costumes, etc.
of other versions." This special Electonicvision tape was recorded during a live performance not a rehearsal.
The play was staged as if it were done during a rehearsal, but not during a dress rehearsal, because a dress rehearsal would have had elaborate period costumes and not actors casual rehearsal clothes.
Of course the actors "casual rehearsal clothes" were carefully selected to enhance and emphasize aspects of the character.
Hamelet for example dressed in gloomy black.The director John Gielgud saw this film and expressed disappointment that Burton had slipped back into his sloppy little boy egotistic expressions at the expense of subtlety.
Many critics a the time said that Burton performed self indulgently, emphasizing every moment, ignoring the chances for subtle variation the role allowed;that Burton gave a reading, an indulgence of his virtuoso voice rather than nuanced acting.
I saw this when it was first shown to the public in 1964 and I thought it was reading indulging his virtuoso voice and I loved it.
I love this Burton Hamlet more than I can say..
Richard Burton is amazing.
I've often said the only Shakespeare I like is 10 Things I Hate About You. When I watched Richard Burton's Hamlet, everything changed.Burton's energy level is unbelievable.
It's incredible to watch, and incredible to know he gave that same performance every night for 137 nights on Broadway, a record.
This taping of a live performance was stylistically filmed as a "rehearsal", so the sets are minimalistic, and everyone is wearing street clothes.
Normally, I don't like when period pieces are modernized, but in this case, Richard Burton could have been wearing a clown costume and I still would have loved it.Richard Burton is the first and only person in the world to make me understand Shakespearian language.
It's incredible.If you like Shakespeare, watch it.
If you like Richard Burton, watch it.
And if you like the Hamlet story, regardless of how many other versions you've seen and which one you think is your favorite, watch it.
It is a video-recording of a live Broadway version in the 1960s.
The 60s was a decade of amazing films (Lawrence of Arabia, The Graduate, etc) and the century's best actors on stage.
But due to the lack of money and technology, the overall film is not well- done.
The camera is at a far distance and hardly ever changes shots.
I had mixed feelings with Richard Burton.
I thought that the way he played Hamlet was spot-on.
He is able to incorporate the right amount of anger, sadness, wit, craziness, philosophy, determination, and happiness that makes Hamlet the character he is.
Hamlet is the hardest character to play, and Richard Burton conquers it.
What makes Hamlet is the he shows every kind of human emotion that he makes the audience feel with him.
I can't say the same thing for Richard Burton.
I guess one of the reasons is because of the lack of good filming, with the majority being at a distance.
it is taken from the filming of two live performances, then edited together.
the production itself was supposed to be more like a dress rehearsal so as to 'reveal the beauty of the language' as Gielgud put it.
Richard Burton was already being touted as one the great Shakespearean actors by Olivier, Tynan and Geilgud among many others and this recording only gives a glimpse of that immense talent - and that is only because the medium of film is not a friend to the theatre; they are different art forms.
Gielgud adds soul to "Hamlet Production..
Having been familiar with the audio recording made with the Broadway cast I always wanted to see them in action.
This stage version of "Hamlet' directed by the legendary Sir John Gielgud is well worth the wait.
He sets the play as if we were watching a final run through before costumes and final props are added which really brings the play's themes to the front and center.
Richard Burton manages well as Hamlet,however there are times (as this is a live performace that he does not quite seem "in the moment".
The finest performance in the production is Hume Cronyn as Polonius.he fleshes out a role that could easily be played as(and has been) a stock character.
A fine stage actor,This is a rare opportunity to see him in his full glory.
The sets and rehearsal clothes costumes add to the feel of the piece.
I just had the particular honour of seeing this with about a hundred others on the big screen at an old theatre in Western Australia - Burton's last wife, Sally, who had the film restored back in 1995, is part of a drama group - who write and perform plays with the elderly as there main audience (as a lot of the plays were from stories and war time letters of the older generations).
- She decided to screen Hamlet one time only (since its initial 6 cinema, one weekend only run back in the 60's) to raise funds for the group to take a play to London.It was absolutely brilliant.
The delivery and presence of actors like Burton and Cronyn was so incredible it didn't matter.
That is the question."Directed by John Gielgud - This 1964 production of William Shakespeare's "Hamlet" took place at the Lunt-Fontanne Theatre in NYC.At a 3-hour running time - This particular version of "Hamlet" is presented as if it were a full final rehearsal of the play where everything is played straight through without any costumes or scenery.This adaptation of Shakespeare's famous period drama starred a 40-year-old Richard Burton in the title role.
In retrospect, this probably means they were using videotape or something, but at the time, they made it sound really revolutionary and many people thought the series of stills was actually what the movie would look like (I know I did).
At the time, movie tickets were ridiculously inexpensive (still fighting for dominance with free television) and you could see a film for a couple of dollars with your best girl.
It looked like any other movie to them.
Except that a lot of the actors were not fully costumed.
Richard Burton was pushing middle age, or dragging it, one or the other.
Alert to film school grads: consider making Hamlet with kids in the roles.
If you want to see someone do the dog out of Hamlet, get the Olivier version.
The only Richard Burton film I can heartily recommend is Candy, also written by Tom Stoppard.
There's a great scene (filmed through the floor of a limo) of Sir Richard sucking scotch out of the carpet.