Hamlet
Tags: tragedy, insanity, revenge, murder

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.

Review: Being an American rather new to Shakespeare, I have come to discover that Hamlet is my favorite play, and as of today the David Tennant and Patrick Stewart version provides the breakthrough to understanding this complicated play.
I have watched all versions of Hamlet available and was quick to check out the newest one; however, Patrick Stewart was the only familiar actor to me.
Most contemporary productions of Shakespeare border on silly (Leonardo D's version of Romeo and Juliet) to ridiculous (Ethan Hawke's Hamlet), but this version rocks, to use an overused phrase.I thought the juxtaposition of Shakespeare Old English in a Modern Setting worked amazingly well.
Plus, as a long-time Dr. Who and Star Trek fan, it didn't feel as if I was watching the Doctor or Captain Picard performing.
When one is such a passionate Shakespeare appreciator as I am - and even one who rarely has the opportunity to attend theater performances - the coming of a major new Hamlet production is a Great Event.
I anticipate it with excitement, I pre-order the DVD, and I prepare to let the Royal Shakespeare Company work its dependable magic and sweep me off my feet with a stunning new production.
Tennant being Tennant, however, he was still splendidly entertaining to watch, even if Claudius, Polonius, Horatio and Gertrude all out-acted him quite a bit.In this version, the early scene where Claudius is addressing the court, turns to Hamlet, saying, "Now...", and then arrogantly turns around to address Laertes instead of Hamlet was for me the greatest single moment.
Even Tennant himself, in most scenes, was not quite intense enough to convince me that he really was Hamlet, and I was a bit disappointed with many of the soliloquies, which in most cases are recited almost without gesture, without animation and without the action that would have directed us towards some subtle interpretation of each speech.
I'm probably missing something, though.Also, having the same actor play Claudius and Old Hamlet, essentially making them twins?
Still, for speaking loudly and clearly to a current audience that may be justifiably fed up with the loftier kinds of Shakespeare productions, it deserves high marks indeed.On the one hand it is difficult to do a good Hamlet, but on the other hand it is also difficult to foul up such resplendent material.
A long time fan of Patrick Stewart and David Tennant, I had high hopes.
For American audiences who love Shakespeare (an oxymoron at best!) and Harry Potter, the casting of David Tennant as Hamlet is an intriguing one.
Tennant, who is wildly popular in the UK in the Doctor Who series, is also known to fans across the Isles as Barty Crouch Jr. from Harry Potter fantasy franchise.Pairing David Tennant with Patrick Stewart, who is a double foil as both the slain ghost king father and Hamlet's uncle Claudius is masterful casting in this version from the Royal Shakespearean Company.
As a result, Stewart was nominated for an Emmy as Best Supporting Actor.Besides this quirky casting choice, director Gregory Doran propels this oft-told tale through the tone and inflection that each character brings to the all too familiar silted language of the Bard.
One could easily close their eyes and simply bask in the joy of the rise and fall of phrases and words spun into this delightful audio experience.Yet another pleasure is watching Sir Patrick Stewart literally play against himself - mano y mano - as Hamlet's mournful ethereal specter and the greedy, selfish brother.
Pennie Downie, Mariah Gale, and Oliver Ford Davies provide an excellent counter-point to the brash and bold Tennant/Steward duo.This is a fine minimalist production that should be added to any Hamlet FANatic's collection..
All of this relates to the production but the biggest difference here is that this is being made for television rather than a theatre and this is no small change.Others have commented on the loss of the physical audience as a point in space for the cast but in fairness one would have thought that the focal point of the camera would have actually made this easier – particularly given the way that the stage in Stratford this was on is surrounded by the audience on three sides.
As such it makes for an odd television film and I do think that more could have been done to make it more than just a filmed version of the stage production (which is what the makers said they were trying to avoid the film being).The cast are mostly impressive.
The only slight downside is that the habit of using the same actor for multiple very minor characters is a little more obvious on the screen than on the stage and it does distract at times.Overall this version of Hamlet deserves credit for being produced for prime time on a terrestrial channel and it does have much about it to appeal to viewers.
The DVD version is a very good representation of the stage version but it lacks the magic of watching a live production, the interaction that the characters have with the audience, the emotional responses of a theatre full of people that allows you as an individual to show greater emotion than sitting in front of a TV.
Clarification of a long, elaborate and often confusing tale of revenge is a must for any production of Hamlet, and on this point this Royal Shakespeare Company production can be rated as excellent; the spartan settings seem to clear the boards, giving way to the language, which is expertly managed from everyone in the cast, especially the three leads; Hamlet's madness, always a point of debate, is neatly handled by David Tennant, who veers always on the side of madness, but allows the audience to participate in his essential sanity--I loved how he was able to keep Rosencrantz and Guildenstern on edge, revealing them to be the mealy-mouthed corporate stooges that they are--not just comic figures, but dangerously loathsome in their compliance with requests from Claudius, played with chilly finesse by Patrick Stewart.
Same goes for Hamlet filming the Mousetrap, which just seems like an odd choice thrown in to make it seem more film-y.Having the characters face the camera and breaking the fourth wall sits rather uncomfortably as it isn't done with enough consistency.
Implicating the viewer as a direct audience has to have a real good reason and that just isn't given in most of Hamlet's soliloquies or when other characters try to draw us in.The acting, as well, seems to be more for the stage than for the camera and thus seems a bit over the top, such as Hamlet's histrionics and Claudius' elaborate shrug upon drinking the poisoned wine.
Tennant, especially, is not subtle enough most of the times, hindered by blocking that apparently comes right out of the stage production.What I found intriguing was that it's one of the Hamlets that moves "To be or not to be..." to Act II, an interesting change that can make sense if presented correctly and it made sense here.So, all in all, a credible take on Hamlet, but I feel the director and producers should have decided on either producing a full-scale film version or a filmed version of the stage production.
Another of those little touches (like Claudius' speaking to Laertes before Hamlet, as a previous reviewer noted) that speak volumes about the director's skill."Hamlet," however, no matter how good the direction or the other performances, revolves around its star as few plays do.
Over-acted nearly continuously; almost completely humorless (it puts me in mind of a particularly dreary, and also humorless, Hamlet I once saw in a Russian version); and more evocative of Tennant's portrayal of Dr. Who than of a Danish prince.
People in the UK are lost right now, they think Brexit is a good idea and Dr. Who is as cool as the original Star Wars, to the point they force everyone to go see this evil looking creep, and I mean so evil looking and evil feeling I just can't handle his face and energy for more than a few minutes, had to watch it in spurts, playing the most admirable and beautiful hero of all time, only because he played Dr. Who.
I have performed Hamlet over 50 times in modernist productions in Paris, I can recite the entire text without a single mistake, and I'm so young I haven't even started my film career.
Although it is clearly part of Mr. Shakespeare's intention that Hamlet be seen by the other characters in the play as very likely addled, I think it unwise to present him as definitely so to the audience.
Notable exceptions are Oliver Ford Davies (Polonius), Patrick Stewart (Claudius), and Mariah Gales (Ophelia), whose innate sensibilities for great language apparently immunize them from this all-pervasive plague.
With "Hamlet" I'm used to long adaptations.I actually remember seeing the image of David Tenant about to kill Patrick Stewart being featured on the Fandom Rivalry on TVTropes.
the way Patrick Stuart and David Tennant portray their roles as superb role in this production.
Patrick Stewart, who plays Claudius, already has a strong background in acting with the X-men movie series and the Star Trek TV series on his resume.
As my theatre company prepares to perform Shakespeare's tragedy, I've watched a LOT of Hamlets starring a variety of different actors set in a variety of different places.
I thought David Tennant was brilliant in this production.
Doctor Ham. I enjoyed the modern setting of this production, which, lacking period frills, brings across more of the daily life of the palace than is usually shown; I enjoyed the clarity of the readings, especially in the interactions between Polonius and his children; and I enjoyed Penny Downie's atypically neurotic Gertrude.On the other hand, Patrick Stewart seemed to me a very dull Claudius.
I can't see Hamlet as being at all the same character as the Doctor (Who) in any of his incarnations, and so he probably shouldn't be played in the same way.
Moreover, a lot of what Tennant carries over isn't really the Doctor, but the actor doing whatever he feels like, which usually is to play the prat.
That said I have quite a few critical issues with this particular production:David Tennant's Hamlet was a distraction and a nuisance.
In a way, it felt as though all the other actors did plenty of work in developing their characters, and while I have no way of proving such a claim, I felt Tennant simply waltzed into the theatre memorized and disconnected.This particular production was not in front of an audience.
the pressure of role for David Tennant, the filming angles, Patrick Steward who is not more than a Cladius as too many others are causes for to define it only as a good job.
the pressure of role for David Tennant, the filming angles, Patrick Steward who is not more than a Cladius as too many others are causes for to define it only as a good job.
This Royal Shakespeare Company (RSC) 2009 filmed version of "Hamlet" captures the essence of the play vastly better than most versions.
David Tennant's phrasing of each of Hamlet's lines provides an emotional depth of understanding that makes the iambic pentameter accessible in a way that I have only experienced in my own silent readings to myself.
I have committed to memory several parts of various Shakespeare plays, and recite from memory certain soliloquies from Hamlet all the time.
I have so wished that the various actors I have watched over the years speak Shakespeare with an emotional understanding of each word and modern intonation in a way that students could understand the greatness of the language.
I have seen Sir Ian McKellan play "Richard III" live, and even then, as great an actor as Sir Ian is, I felt his phrasing was archaic and only avid fans could fully grasp the heartache and desperation in Shakespeare's characters.The triumph of the RSC's 2009 version of Hamlet is that each actor speaks each line with emotional clarity.
I have watched Sir Patrick live on stage several times, on television and film, and his experience and comfort with the character is obvious.
I saw David Tennant in many roles and I think he's one of the most talented actors in his generation.
Maybe it's my fault but I couldn't see her as the beautiful and intelligent young woman who worth of the love of the prince and who return his feelings so strongly, that when she lost him to the madness she takes her own first step to that way as well.This review gets quite long so just some quick words about the set: I think the modernization worked very well, the black, mirror-like floor, the security camera system helped me to rethink the play from a new viewpoint and showed it like it would be the first time anyone perform it.
It seemed new and fresh to me and I wondered if that was the way (aside from the modern technique of course) they used to perform in the first days before the play was burdened with so much expectation and history.All in all, I highly recommend this movie for those who have never seen Hamlet before and for those who have seen a lot, but are open for some fresh version of it..
The majority of reviews of this wonderful production of Hamlet by the Royal Shakespeare Company are positive, and offer many reasons to watch this filming of the play.
But it depends on how you look at it, I, an English major who is familiar with dissecting Shakespeare's works, found it a sneaky foreshadowing of future events, as well as demonstrating Hamlet's attribute of wearing his heart on his sleeve.David Tennant: though most found his portrayal unique and intriguing, some say it is horrible and over the top.
Patrick Stewart plays the counterpart, the exact opposite, of Hamlet.
The RSC definitely chooses the second option, and David Tennant fills this role exactly, being so mad that the audience just knows its all an act to fool the King.
I had never heard the lines of Hamlet spoken in this type of tone, but after finishing the play, I couldn't believe there was any other way of saying them- from Tennant the words are natural and don't sound recited at all.
The best production of HAMLET, That I have seen.
The sets were amazing, the acting especially by David Tennant and Sir Patrick Stewart was brilliant.
And what's the difference of what costume is worn as long as those beautiful words of the Bard are used, they are the important thing.I thought the supporting actors who played Laretes, Horatio, and Gertrude were great, but I thought the actors who portrayed Ophelia and Polonius were a little too one dimensional.Anyone thinking of buying this movie, will more that get their money's worth.
David Tennant was a wonderfully psychologically intense Hamlet, as were many of the other actors.
Hamlet, in that play within a play scene, films the reaction of Claudius with a grainy hand-held camera.
A nice touch.Maybe all the budget was allocated to Stewart and Tennant, because the production design certainly is limited, although not in the way a stage is.
Starting with the officially saluted personalities in the Royal Court of Denmark, by the original Shakespeare play, absent from the actual stage.
In the original play, it is possible to see this very twist, a challenge for the audience: the real Time Unit is not in the text, but in how a "virtual" time unity could be defined, possibly different from one performance to the next, to specifically make room for the crowning of a Big Absent, (or exposing a bad guy, the criminal king Claudius), larger than life Hero, who could be saluted in any time unit chosen by the company.
Hamlet finishes the story: "you shall see anon how the murderer gets the love of Gonzago's wife." Act-III Scene-2, a reflection, a mere evocation of King Claudius's crime, killing a man to marry his wife.
* PLACE: Denmark, and more generically on foreign land, the Place staged by the Shakespearean Gods, and/or Time Lord(s), the place to which Doctor Who's TARDIS takes us (Doctor Who's time/space travel machine which sets the Time and Space dimensions in Doctor Who TV series, starring Hamlet's David Tennant in 2009).
This version, however, was originally performed by the Royal Shakespeare Company (I have seen their version of a Midsummers Night Dream, and it was brilliant) and they decided to bring the actors from the stage play and make a TV version of it.
I didn't know that this version existed until I searched Amazon and what caught my attention was that Patrick Stewart (Captain Picard and Professor X) as well as David Tennant (Dr Who) had taken major roles in the production.We all know about Hamlet, and a lot can be said of the play itself, however I do not intend to go over old ground here but rather focus on the production itself.
Once again, it is not that Claudius stole the throne, but rather that he killed his father and married his mother.One of the reviews that I read suggested that David Tennant successfully shed the character of Dr Who in this film, however I must disagree.
While I thought Tennant played the role very well, in a number of cases his madness reflected the eccentricity of the doctor.
However, with the exception of Peter Davidson, many of the actors that played the Doctor never really went onto anything afterwards.As for Patrick Stewart, he is brilliant.
Further, when one realises that Stewart is a Shakespearian actor more than the star of a Science-fiction soap opera, one begins to appreciate his acting skills.When it comes to Hamlet, it is not the play, the plot, or the theme that will carry the movie because we all know the play (or I hope we do).