User reviews

Still being of school age, and having to learn Shakespeare almost constantly for the last four years (which is very off-putting of any writer, no matter how good), I didn't really expect to enjoy this film when my English teacher put it on; I thought it'd be the typical English lesson movie: bad acting, awfully shot, badly edited and the dreaded awful old dialog, so, as you can tell, I was all but ready to go into a coma from the go. However, I watched and, much to my disturbance, found myself not only paying attention, but actually enjoying the movie too. This production of Hamlet is possibly one of the best drama movies I have seen in a long time- and it really brings to life what I expect Shakespeare wanted his plays to be like (well, with the difference that this is cinema) much better than my English teacher harking over the text ever possibly could. The story is good, the dialog seems to flow with an unexpected grace that is far from boring (though a little hard to keep up with if you aren't used to Shakespeare's language) and even the smallest parts are performed with a skill you wouldn't expect; mainly, perhaps, due to the staggering number of cameos this movie has. Brian Blessed and Charlton Heston are as great as you'd expect these two veterans to be, even in such small parts, but it is Robin Williams as Osric and Billy Crystal as the Gravedigger who really stand out, giving such minor parts an unexpected zest, as well as offering some comic relief amidst the tragedy.

The main stars, of course, are also wonderful. Kenneth Branagh excels as Hamlet, bringing not only the confusion and pain required to the roll, but also a sort of sardonic air which plays beautifully in the comic scenes, making the movie as a whole much more watchable. The other major players are also good, but it is Kenneth Branagh who stands head and shoulders above the rest in the title role.

The set pieces, too, are often quite stunning, giving a refreshing change to the danky old castle corridors we're used to seeing in Shakespeare productions, as well as a real sense of the country around them.

Of course, the movie, taken as a movie in its own right, is not without faults, but no major ones (the pacing is the only real problem I can think of offhand, as well as the prose for anyone not used to, as I said, Shakesperean language) and, especially when compared to the sort of Shakespeare productions I'm used to seeing in class, it really is quite brilliant. It's even made me rethink my previous typical teenager stance on Shakespeare, that his plays are boring (I came to the conclusion it's not the plays that are boring, merely the teachers who recite them in class). If only they made all of his plays into movies such as this one, English students in schools everywhere might have a higher opinion of the Bard.

Overall 7/10

First, what I didn't like. The acting was not really up to the Hamlet standard. Branagh was really over-the-top, doing a lot of yelling mostly. In my opinion, those actors who were not big-name celebrities generally did a better job; though I would except Billy Crystal and Robin Williams. (And Charlton Heston, too, but I wasn't sure if he was playing at being a hack.) A lot of the ambiguities in the play were clearly resolved one way in the flashbacks.

What I think speaks very much in this play's favor is that it is accessible. Shakespeare is hard to understand for the vast majority of people nowadays; many people are not even inclined to try, because of its reputation as Serious Literature and its archaic English. If they see this film they will understand clearly at least one man's interpretation of the play. They will be seeing it more as Shakespeare's audiences saw it: a play with sword fights and battles, and mighty kings and nobles, murder and incest and evil schemes and ghosts--and great art, if one cares to look for it, but in Shakespeare's day most didn't, any more than most people do now. Branagh's overacting, and his forcing of his interpretation of the story on the viewer, may detract from Shakespeare's art somewhat, but it is better that modern audiences get a piece of it, rather than nothing.

I've got to say one more thing though. Some people are complaining that "it's set in the 19th century and that wasn't Shakespeare's time". Well, in Shakespeare's time their costume and scenery was that of their own day for all of their plays. Shakespeare may have SAID it's in the days of ancient Rome or medieval Denmark or whatever, but he didn't dress his characters up like they were, he used the costumes of his own time. For the same reason his plays are full of anachronisms. For example, in King John the English and French have cannons--in Robin Hood's day. In Julius Caesar they talk of chimneys, which wouldn't be invented for another thousand years, and in Henry IV they talk about Machiavelli, who wasn't even born yet then. So I think this objection is silly--you might as well complain that the play isn't in Danish (after all they live in Denmark don't they?).

Part of the genius of Branagh's interpretation of Hamlet is in the use of the techniques of the cinema to enhance the production. Branagh has not condensed the acts like some mass market soup, as was done in Olivier's 1948 Oscar-winning production, or in, say, Zeffirelli's 1989 Hamlet lite starring Mel Gibson (both excellent, though, within their scope), but has kept every word while directing our understanding so that even those only casually familiar with the play might follow the intent and purpose with discernment. Recall that for Shakespeare--the ultimate actor's playwright who wrote with precious few stage directions--interpretation was left to the direction and the actors, an open invitation that Branagh rightly accepts.

The use of flashback scenes of things implied, such as the amorous union of Ophelia and her Lord Hamlet abed, or of a vast expanse of snow darkened with distant soldiers to represent the threat of Fortinbras' army from without, and especially the vivid remembrance in the mind's eye of the new king's dastardly deed of murder most foul, helps us all to more keenly appreciate just what it is that torments Hamlet's soul. I also liked the intense closeups. How they would have bemused and delighted an Elizabethan audience.

Branagh's ambitious Hamlet is also one of the most accessible and entertaining, yet without the faintest hint of any dumbing down or abbreviation. A play is to divert, to entertain, to allow us to identify with others who trials and tribulations are so like our own. And so first the playwright seeks to engage his audience, and only then, by happenstance and indirection, to inspire and to inform. Shakespeare did this unconsciously, we might say. He wrote for the popular audience of his time, a broad audience, it should be noted, that included kings and queens as well as knaves and beggars, and he reached them, one and all. We are much removed from those times, and yet, this play, this singular achievement in theatre, still has the power to transcend mere entertainment, to fuse poetry and story, as well as the high and the low, and speak once again to a new audience twenty generations removed.

Branagh himself is a wonderful Hamlet, perhaps a bit of a ham at times (as I think was Shakespeare's intent), a prince who is the friend of itinerant players. He also lacks somewhat in statute (as we conceive our great heroes); nonetheless his interpretation of the great prince's torment and his singular obsession to avenge his father's murder speaks strongly to us all. Branagh, more than any other Hamlet, makes us understand the distracted, anguished and tortured prince, and guides us to not only an appreciation of his actions, wild and crazy as they sometimes are, but to an identification and an understanding of why (the eternal query) Hamlet is so long in assuming the name of action. In Branagh's production, this old quibble with Hamlet's character dissolves itself into a dew, and we realize that he was acting strongly, purposely all the while. He had to know the truth without doubt so that he might act in concert with it.

I was also very much impressed with Derek Jacobi's Claudius. One recalls that Jacobi played Hamlet in the only other full cinematic production of the play that I know of, produced in 1980 by the BBC with Claire Bloom as Gertrude; and he was an excellent Hamlet, although perhaps like Branagh something less than a massive presence. His Claudius combines second son ambition with a Machiavellian heart, whose words go up but whose thoughts remind below, as is the way of villains everywhere.

Kate Winslet is a remarkable Ophelia, lending an unusual strength to the role (strength of character is part of what Kate Winslet brings to any role), but with the poor, sweet girl's vulnerability intact. She does the mad scene with Claudius as well as I have seen it done, and of course her personal charisma and beauty embellish the production.

Richard Briers as Polonius, proves that that officious fool is indeed that, and yet something more so that we can see why he was a counselor to the king. The famous speech he gives to Laertes as his son departs for France, is really ancient wisdom even though it comes from a fool.

Julie Christie was a delight as the besmirched and wretched queen. In the bedroom scene with Hamlet she becomes transparent to not only her son, but to us all, and we feel that the camera is reaching into her soul. She is outstanding.

The bit players had their time upon the stage and did middling well to very good. I liked Charlton Heston's player king (although I think he and John Gielgud might have switched roles to good effect) and Billy Crystal's gravedigger was finely etched. Only Jack Lemon's Marcellus really disappointed, but I think that was mainly because he was so poorly cast in such a role. Not once was he able to flash the Jack Lemon grin that we have come to know so well.

The idea of doing a Shakespearean play with nineteenth century dress in the late twentieth century worked wonderfully well, but I know not why. Perhaps the place and dress are just enough removed from our lives that they are somewhat strange but recognizable in a pleasing way. And perhaps it is just another tribute to the timeless nature of Shakespeare's play.

There is so much more to say about this wonderful cinematic production. It is, all things considered, one of the best Hamlets ever done. Perhaps it is the best. See it, by all means, see it for yourself.

(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)

I must say that, looking at Hamlet from the perspective of a student, Brannagh's version of Hamlet is by far the best. His dedication to stay true to the original text should be applauded. It helps the play come to life on screen, and makes it easier for people holding the text while watching, as we did while studying it, to follow and analyze the text.

One of the things I have heard criticized many times is the casting of major Hollywood names in the play. I find that this helps viewers recognize the characters easier, as opposed to having actors that all look and sound the same that aid in the confusion normally associated with Shakespeare.

Also, his flashbacks help to clear up many ambiguities in the text. Such as how far the relationship between Hamlet and Ophelia really went and why Fortinbras just happened to be at the castle at the end. All in all, not only does this version contain some brilliant performances by actors both familiar and not familiar with Shakespeare. It is presented in a way that one does not have to be an English Literature Ph.D to understand and enjoy it.

I enjoyed this film immensely when it came out, going to it five times while it was still in theatres. A much better way to spend an evening than watching the retread scifi thriller material out at the time.

I have to admit though that after seeing it again a few times on video it doesn't have the same attraction for me that it originally did. As film, it's solid. The settings are wonderful, and I admire the desire to produce the entire play unedited.

I don't enjoy the acting as much as I first did. In the case of Branagh, that may be merely a matter of personal taste. I would prefer a less garrulous Hamlet. Obviously, since all actors of Hamlet are working from the same script, unless edited, this is dependent entirely on the manner in which they portray the character. I find Branagh's performance a bit cloying, and far too over the top in some cases.

In addition, some of the cameos are distracting. Heston and Crystal I enjoy, but Williams, and particularly Lemmon, are annoying. The others, Attenborough et al, are fine.

While I can't give Hamlet a whole-hearted recommendation, I have to say that it far surpasses the trite commercialism of all the new "greatest films of all time" which have come out over the last few years. That's a phrase being used far too often now, revealing a lack of familiarity with the great films of the past. In that sense, I admire Mr. Branagh's desire to bring great drama to the screen, and hope that he meets with continued success in the future.

Olivier, Kosentsev, Richardson, Coranado, Zefferelli, and Almerayeda have all directed Hamlet but Branagh's the only one who got it right.

This is the only film of "Hamlet" that contains the full four hours of William Shakespeare's masterpiece and gives a unique feel to the whole story.

Not many directors could pull this off without boring their audience but Branagh's skillful use of bravora film style and stunt casting allows people to see the importance of the scenes that are usually cut out.

Examples of this include Gerarde Depardue as Ranyaldo whos entire purpose in the film was to simply say "yes my lord" as Polonius asks him to spy on Leartes. This also included Billy Crystal as the grave digger, Robin Williams as Osric, Jack Lemmon as Marcellous, and Charlton Heston as the actor.

Branagh's performance of the Act 4 scene 4 soliloquy (Which again is usually cut out) is nothing short of c cinematic marvel as the camera slowly pulls back as the intensity grows. It is a scene that literally made me want to jump out of my chair and start applauding.

Branagh is the only film maker that understood the importance of every scene in this film and knew how to convey that importance to the general audience.

This is a must see for everyone who enjoy's good story telling, brilliant acting,and incredible direction. All of these part of William Shakespeares greatest triumph.

What an ambitious project Kenneth Branagh undertook here and how well it was realized! This is the first filmed version of 'Hamlet' to use the full text of Shakespeare's play, but Branagh didn't do it just because "it was there." His intention, I believe, was to make the play accessible and understandable to the general viewer without dumbing it down, so to speak. In return he asks viewers to put in a little work themselves, a fair enough proposition and one that's a bargain.

The setting is a generic 19th century European one and this does more than work well, it keeps a modern or ancient look from possibly distracting from the work itself. The production design and cinematography and both outstanding, which helps immensely when you're watching a four-hour movie. Branagh's casting once again is inspired and the acting is likewise. The direction accomplishes the heavy task of making this a movie rather than a deluxe version of a play. Since so much of 'Hamlet' is based on interior monologue and there are relatively few duels, battles, etc., this can be a daunting task. But everything Branagh tries to do seems to work.

Branagh has always been one of the most interesting actor/writer/directors, if not always the best, since he made his big splash with 'Henry V.' One quibble I had with him was what I saw as a tendency to ham it up at times. In his portrayal of Hamlet here he might be accused of that again, but there is a method at work. Let's face it, 'Hamlet' is not an easy work for the average person to understand and if one has never seen it performed before, he or she needs help even if they've read the play. Hamlet has the most lines of any Shakespearian character and Branagh makes sure that his viewers know what this man is thinking and feeling throughout the film, even if you don't know the literal meaning of every arcane word. This performance by Branagh was at the very least worthy of an Oscar nomination.

There are so many other outstanding performances here they're almost too numerous to mention, but some of them must be acknowledged. Derek Jacobi as Claudius is superb but even he takes a back seat to Kate Winslet when it comes to handing out praise. Her portrayal of Ophelia is awesome in its depth of feeling, made only more outstanding by the knowledge that she was only about 20 years old at the time! She looks to me like the finest young actress around. Other super performers in no particular order are Richard Briers, Nicholas Farrell, Michael Maloney, and Reece Dinsdale and Timothy Spall as Guildenstern and Rosencrantz, respectively. Honorable mention goes to Julie Christie, Charlton Heston, and Robin Williams, who manages to do his thing here successfully. Even Billy Crystal as a gravedigger works. The one cast member who doesn't, inexplicably, is Jack Lemmon. In the very opening scene he appears, and while the other three actors do a great job at setting the tense mood, Lemmon sounds like he is just running lines in rehearsal as a favor. You know this must have been a real dilemma for Branagh, since everything else about the movies screams out that it's the work of a perfectionist.

Not to be facetious when speaking of a four-hour movie, but it does seem just a tad too long. Some monologues and conversations do tend to go on a bit, if I may be so bold, and a little bit of judicious pruning would be welcome.

Did I forget anything, other than Patrick Doyle's score? No doubt I did. I'll just sum up by saying that Kenneth Branagh may have made the definitive film version of 'Hamlet,' and it will be a truly monumental production that tops this one.

Branagh's Hamlet--both character and film--suffers from the same tendency that destroyed his Frankenstein: he simply goes overboard. When he's reined in, Branagh can turn in a fine performance, but too often he overacts, overdirects, overdoes generally, as here. I eagerly anticipated this Hamlet both as a reader and as a teacher, but discovered an overblown spectacle full of Hollywood-style excess, souped-up sex and violence, overpowering (and distracting) music, and performances that substitute volume for emotion.

Branagh himself is the worst offender here, bellowing his "how all occasions do inform against me" soliloquy as if in competition with the soundtrack, hardly even pausing for breath, let alone for a glimpse of feeling. The most crushing disappointment is the crucial "to be or not to be" speech, again devoid of any sense of reflection or self-awareness, delivered in a hasty monotone for all the world as if Branagh was trying to spit it out quickly before he forgot it. This is not the world-class acting the text deserves; if not for the sheer spectacle and the impressive (i.e. famous) cast, this film would surely not be ranked as highly.

Even the purportedly authentic screenplay makes several crucial interpretive choices for the viewer and completely rewrites the nature of Fortinbras's final entrance into Elsinore. The only bright points are Derek Jacobi, who offers some emotional complexity as Claudius, and a Gertrude who finally seems to have a backbone. The absence of the Oedipal interpretation is welcome, but this alone cannot place this disastrous film above the Mel Gibson version, which remains its superior. The volume of laudatory reviews for this foolish film depresses me--but at least it may bring some new readers to the play itself, which _does_ deserve this kind of admiration.

The internet has made digging up real information virtually impossible. When it first appeared, I remember that many people believed that all our library books would be scanned onto microchip (and then quietly destroyed as no longer necessary).

Well, a lot of them have been destroyed, but unfortunately somebody forgot to scan them first.

Hamlet has been a fascinating subject for female actors since the beginning of film itself (Sarah Benhardt is apparently the first to have the play recorded on film). Sometime before the second World War, a female actress in England decided to make a complete film of the (then) accepted authoritative copy of the whole of Shakespeare's play. The film ran some 5 hours.

I have searched and searched for information about this woman and her film, and have come up with naught. I mention this at all because Branagh earned a reputation for his version of Hamlet even before the film's release with his promise of the "complete version of the whole play" (according to currently accepted authoritative texts).

Well, as it turns out, having a complete version of a play doesn't actually mean one has a good performance of it.

Branagh clearly wants us to forget the Olivier version - but unfortunately makes all of Olivier's mistakes without any of Olivier's delicious Gothicism (which is really what makes the Olivier play special). So Branagh is loud, ego-centric, pretentious, neurotic - all the worst aspects of Olivier's Hamlet - but never brooding, mysterious, or ethereal - many of Olivier's best qualities. Olivier's Hamlet appears to be visiting from another world - and none too happy about his short stay in Denmark. Branagh's Hamlet is visiting a Kenneth Branagh film festival, and got lost at the wine-and-cheese buffet.

Understand that I really admire Branagh's previous Shakespeare efforts, and believe him to be an excellent actor. But Mary Shelley's Frankenstein showed us a side of Branagh - loud and egotistical - that we didn't really need, and then he pours that all into this film - which unfortunately we have to suffer with for four whole hours, if we choose.

Will some internet computer wiz please remember not to preserve this film?

This was long. 4 hours of uncondensed Shakespeare and I must say I enjoyed it. Kenneth Branagh is perhaps the Laurence Oliver of our times. A great actor obsessed with the work of Shakespeare. And this is his masterpiece, Hamlet (1996), a free uncondensed version with every line of what Shakespeare has written, on the last movie ,besides The Master, filmed on 70mm film.

If you've graduated high school, you probably know the story of Hamlet. Hamlet is visited by the ghost of his father, who request the he kills his uncle, the new king of Denmark, because he murdered Hamlet's father. What I love about this adaptation is the things Kenneth Branagh does because he's using the medium of film. The use of Flashbacks in events is a great use that the stage adaptations could never do, same with the scenery. Elsinore Castle comes alive. It was genius for him to set the story in the 19th century. It gives a beautiful touch to the movie and costumes and set design were appropriate. THe final thing he does great is how he plays Hamlet. My English teacher taught him more as a mopey Dane, but he plays him as a cunning but indecisive genius which I believe is more interesting. His soliloquies have great touch to them, using visual elements and artful expression to make them interesting instead if Rambling.

The cast is great too. No weak link in the acting, and everyone holds their own. The guest appearances of famous actors, Charlton Heston, Robin Williams and Billy Crystal add moments of freshness to secondary characters. The Cinematography shows off the world well and fits most scenes, same with the music.

The problem is the length. It drags in places and with trimming could've been a masterful movie.

Overall great adaptation (better than the Mel Gibson one) and shows off to a new generation the beauty and power of something written 400 years ago. If you have the time, check it out.

8/10

Yes, the visuals are grand. Yes, there are some good performances. Unfortunately, Branagh's is not one of them.

Kenneth Branagh is just too over-the-top and indulgent as Hamlet. Maybe it is a matter of taste, but it is vitally important that you like the man who plays Hamlet as the character speaks more than the rest of the cast put together.

Another problem is the script; it was written as a play, it was turned into a movie. A really long movie. I have nothing against long movies, but this one really was long on the dialogue. It didn't have to be this way. I think this play has to be cut a lot to make a tolerable movie. (I would see the Zefferelii one. Really conveys the spirit of the original without making it a marathon movie.)

All in all, it was not terrible but I will not sit through it again.

This ludicrous and inept film is certainly the most misguided version of "Hamlet" to ever reach the screen. Branagh's approach to the material can only be described as vulgar; going to such lengths as depicting Ophelia in a straight jacket, having Fortinbras' army appear suddenly on the horizon (looking very much like the climax of "Monty Python and the Holy Grail") when the palace is apparently guarded only by Francisco (who shouts the very un-Shakespearean cry of "ataaaaaaaaaaaaaaaack" before being gunned down), and multitudes of star cameos that harken back to the days of Jimmy Cagney's Bottom and Mary Pickford's Kate.

Branagh chose to set his film in an Edwardian setting but at the same time decided to employ an almost uncut text, so that frequently the dialogue that is firmly rooted in Elizabethan mentality makes no sense in the context that it is being performed. And Branagh does not concern himself with such textural subtleties as the ambiguous nature of Hamlet and Olphelia's relationship, treating the audience to a vulgar nude sex scene between the couple that tosses any ambiguity right out the stained glass window.

The uncut text does allow Branagh to indulge in his favorite cinematic pastime: more footage of Kenneth Branagh. This is never so apparent as in the "How All Occasions Inform Against Me" speech that ends the first half of the nineteen hour film (at least that's how it feels), which attempts to play to a dramatic crescendo along the lines of Gone With The Wind's "I'll never be hungry again." This may serve Branagh's ego, but it does not serve Shakespeare or the speech: when I saw the film in the theater, I leaned over to my companion and snickered "Great Moments With Mr. Hamlet." Branagh saves the funniest and most tasteless moment for last, when he attempts to out-do the Olivier film and its justly celebrated death of Claudius by having Hamlet jump from off a high tower onto the monarch, impaling him with a sword. Branagh's Dane does in the king by heroically throwing an apparently magic rapier from across the palace to run through Claudius' heart with a super hero's bulls eye. The only thing that saved the moment from being unbearably maddening was that it was so off-the-wall funny.

While this film has been praised in some quarters as a serious depiction of the tragedy, it is in fact nothing but a star-studded display of a once-talented filmmaker being overtaken by his own narcissism. The Emperor has no clothes, and this Hamlet has nothing to offer but a few unintended laughs and the appalling sight of one man's ego out of control.

seen one you've seen them all, right? wrong! I still like the sombre Olivier version and Gibson did well, but this is in a class of its own.

I finally realized with this expanded production set 200 years closer to the present the full message that Shakespeare cleverly concealed with the more prominent aspect of Hamlet's quandary, and that is he, Hamlet, is driven to distraction by the awareness its the insidiousness of human nature that created the conditions that saw his father murdered.

looking at the play with this insight you can see numerous scenes where this notion is there in the background. and by changing the era, Branagh shows yet again the astonishing applicability of that truth. all you need is to read a newspaper, something 'included' in this production.

thank god for British stage actors raised on Shakespeare.

a very rewarding viewing.

Out of all of William Shakespeare's most beloved and well known plays, few works have been adapted, either for the stage or, more recently, in cinematic form. The majority of such productions are known for taking significant liberties with the work, mainly in terms of length and editing. And such is the main selling point for director/star Kenneth Branagh's incarnation of the tragic prince of Denmark: the work is presented unabridged and unashamed of it, and as such, is one of the most unquestionably faithful Shakespearian cinematic adaptations as of yet. Considered by many to be the definitive film version of the play, Branagh's Hamlet is by no means a flawless film, but a powerful and faithful enough work to merit a viewing.

Branagh's passion and keep grasp on his source material is evident, as is the astute evidence paid to even the most minute details of the sprawling work. To take a four hour long (the sheer length in itself will unquestionably be enough to deter some viewers either from taking in the film or watching it in a single sitting) Shakespearian play and infuse it with enough zest and energy to keep it interesting for a contemporary audience is no small feat indeed, but to his credit, Branagh performs such a task admirably. The film's mostly strong, but somewhat uneven pacing, including some quintessential contextual flashback sequences, intriguing cinematography and Patrick Doyle's rousing (if slightly overdone) musical score are engaging, and benefit the film immensely. The period adaptation, to 1890s civil war era works surprisingly well, considering the many less than favourable attempts to adapt Shakespearian dramas into a contemporary time period, (Baz Luhrman's Romeo and Juliet comes disconcertingly to mind...) and the vibrant and expansive period sets and costumes are visually delightful, adding a sense of epic splendour to the production.

However, considering Branagh's considerable talent and directorial attentiveness, it is a shame indeed that the production still feels like it is missing something, or falling tantalisingly short of the emotional depth and breadth one might hope for in one of Shakespeare's more emotional works. A disappointing number of the film's key emotional moments either come across as disappointingly flat or toeing the line of melodramatic hysteria, though for the most part, Branagh keeps the emotional tension to an appropriate simmer. Also, for such a dialogue intensive work, many of the actors' delivery feels overly "stagey", frequently drawing the audience out of the emotional intensity of the moment. However, despite such complaints, on the whole the film performs admirably - it is only a slight disappointment that there is a consistent feel of the full (admittably vast) potential not quite being filled.

In such a dramatic work as Hamlet, the performances are key, and thankfully, Branagh has played his cards right by assembling a stellar cast to bring his vision to life. As the title character himself, Branagh manages a precisely poised balance between the brooding, flamboyant and lethal aspects of the character. His careful research and preparation show through his deliberately crafted performance (even his forays into the melodramatic tend to infuse the often imbalanced character with a fitting unusual edge) - it would be difficult to imagine an overall more satisfying Hamlet. Kate Winslet is easily one of the film's strongest points, typically powerful, charismatic and tremendously impressive as the harried Ophelia, Hamlet's love interest. Derek Jacobi gives a strong performance as the Machiavellian King Claudius, infusing the role with the necessary depth to make Claudius a troubled and lamenting character rather than a one dimensional antagonist.

As Hamlet's troubled mother Gertrude, Julie Christie, years after her initial call to fame, demonstrates her ability to still craft elegant, credible and tremendously powerful performances. Richard Briers makes for an excellent Polonius, but unfortunately Nicholas Farrell and Michael Maloney prove miscast with little charisma and tendencies to overact as Horatio and Laertes respectively. Branagh also makes use of a supporting cast chock full of famous faces to both keep viewers interested and instill intrinsic value into characters that might otherwise be considered inconsequential. Billy Crystal is perfectly cast as the comic relief Gravedigger, and Robin Williams and Jack Lemmon are put to good use in minuscule yet nonetheless amusing roles as Osric and Marcellus. Brian Blessed is a formidable presence as the Ghost of Hamlet's father, and Charlton Heston and Rosemary Harris are endearing in the "Player" interlude. Also, unseen in the abridged cut of the production are entertaining cameos from Gerard Dépardieu, Richard Attenborough and Judi Dench.

Shakespeare aficionados will have much to appreciate, as Branagh's passion for his source material and distinct directorial touch help carry the film through its regrettable weaker moments and occasional lapses in emotional poignancy and acting. While the staggering running time and period dialogue will doubtlessly prove too daunting for those unaccustomed to the works of Shakespeare, those willing to make the investment will find Branagh's work to be among the most faithful and entertaining film adaptations of the Bard's works. Considering the tremendous ambition of the task, Branagh's film, while by no means perfect, should still be considered nothing less than a laudable success.

-8/10

In the movie, Hamlet, directed by Kenneth Branagh, Prince Hamlet recently has returned from England only to discover that his father was mysteriously murdered and his mother remarrying his uncle, Claudius. One night, Hamlet comes face to face with the ghost of his deceased father, King Hamlet, who reveals that Claudius is the man who murdered him and asks Hamlet one thing, to seek revenge. Throughout this literary adaptation of one of Shakespeare's most well known plays, Kenneth Branagh leaves everyone on the edge of their seats as they follow Hamlet and his plot to seek revenge. The play itself is one to watch for, but the big screen adaptation is right there with it. The characters, emotions and actions were flawlessly shown throughout the film, leaving no complaints from myself. Though this may not be a movie recommended for those under the age of 13, Hamlet is acceptable to show to freshman in highschool and adults of any age. To conclude, the silver screen adaptation of Hamlet, is an exceptional movie and highly recommended for those who are fans of Shakespeare's work or for those who just want to enjoy a movie.

The actors play wonderfully, especially Kenneth Branagh himself. It's good that Robin Williams got the comedy role of Osiric, otherwise it could be a bit strange to see him in such a production. It is really great that Kenneth decided to use the fullest version of the text, this happens definitely not too often... Thanks to that the viewers can see the whole, not the chosen - by the director - parts. Also - thank God that the film is in a classical form; NO to surrealistic fanfaberies ! Although "Tytus Andronicus" was impressive nevertheless, but still Hamlet is a different story, at least that's my point of view.

Kenneth Branagh's epic Hamlet which was a full adaptation of the whole text and clocks in at 4 hours. It is not for the faint hearted and it took me 17 years to finally unwrap my video of Hamlet and put in on the solitary video player I still have in the house.

As a viewer you need stamina for one of Shakespeare's most popular tragedy. Branagh as director and adapter has brought the play forward to the 19th century and got a cast of American and British actors with cameos from Jack Lemmon, Charlton Heston, Robin Williams and Billy Crystal.

He brings together the cream of British acting with Richard Attenborough, John Gielgud, Julie Christie, Derek Jacobi and some Branagh regulars.

Branagh himself gives a muscular performance in the background of a baroque set design. He imbues a sense of rawness but maybe overdo's the moments when he is humorous when he should had a nifty lightness of touch.

Kate Winslet as Ophelia brings a moving portrayal as a young woman in love with the brooding Hamlet and who has engaged in a full physical relationship with him.

The text can be fast and furious and as your hear it those many familiar lines zip by but that is how Shakespeare is. Language that is natural of its time and has to be natural to the actors reciting it now.

The film has flaws. There are stylistic clashes from its cosmopolitan cast. The full play is not always easy to follow and the great fortitude is required to watch the whole film.

I admit I've only seen about three of Shakespeare's plays (Romeo & Juliet, Macbeth, & of course Hamlet) one I liked, the other I found so-so (Macbeth), and Hamlet I just found a masterpiece. I'm pleased to tell you that this adaptation is every bit as good as the intense and dramatic play. The acting is extremely strong (With a cast that features Kenneth Branagh, Robin Williams, and Billy Crystal how can you lose?) and the change in time period (Looks like somewhere between the 17 and 1800's) plays off beautifully as the characters move about and say their infamous lines straight from the script itself that any fan of the Shakespearean play will get chills from. If you're into this popular drama I highly urge you to watch this powerful 1996 adaptation from Shakespearean admirer Kenneth Branagh.

When you rent the 1996 version of Hamlet, be prepared for a long evening. You'll get an intermission, and you'll need it, because the running time is four and a half hours. This is one of the longest movies ever made!

Adapted, directed, and starring Kenneth Branagh, you'll be treated to his finest performance as he puts every part of himself into the role. Even if Hamlet isn't your favorite of Shakespeare's works, you'll be able to recognize his incredible talent. There are others among the cast who deliver their Shakespearean monologues in the typical theatrical way-meaning it was in a foreign language and I couldn't understand a word they were saying-but Kenneth Branagh does what very few have been able to do: make Shakespeare seem like English. If you're going to tune out and get more popcorn, do it during someone else's scene.

Among the supporting players, Derek Jacobi plays Hamlet's uncle, Julie Christie plays Gertrude, and Kate Winslet plays Ophelia. While it makes much more sense in the story for Ophelia and Hamlet to have a physical relationship, not every version chooses to show that. In this version, there is a sex scene or two, shown in flashback; many flashbacks are used during dry monologues to show the audience what's going on, and it's a neat way to breathe a little more life into the stage play. Kate still seems enormously green as an actress, coming off her early role in Sense and Sensibility, so if you're like me and like her mature performances better, you won't like her as Ophelia. It is possible to find a seasoned actress, or at least a quick study or one who can pretend she knows what she's doing, and still be young enough to play Ophelia. They've made a million versions of Hamlet, and not every Ophelia has made the audience cringe. Julie Christie, who came out of retirement to take her role, might also make you cringe as she wears a constant smirk throughout her scenes. I didn't know if she was constantly on the verge of laughing, thought she wasn't in the frame, or had a very strange interpretation of the character. Needless to say, if you're going to sit through four and a half hours, you won't be doing it for the ladies, you'll be doing it for Kenneth Branagh.

Keep your eyes open for many recognizable faces, and in his trademark of casting, you'll find many actors who'd never, ever be cast in a Shakespearean play and now get the opportunity to show the audience that they, too, can speak a foreign language. Can you imagine Jack Lemmon, Billy Crystal, Robin Williams, and Gerard Depardieu speaking Shakespeare? Now you can hear it! The latter has a cameo, with most of his lines consisting of "Yes, milord," but it's very cute. Back in 1989, Gerard dubbed Kenneth Branagh's lines in the French version of Henry V and widely promoted the movie overseas, and as a thank you, he was included in Hamlet. You'll also find Charlton Heston, Rufus Sewell, Nicholas Farrell, Rosemary Harris, Michael Maloney, Ken Dodd, Richard Briers, Reece Dinsdale, Richard Attenborough, and if you blink, you'll miss John Gielgud, Judi Dench, and John Mills making appearances.

It's impossible to talk about this version of Hamlet without mentioning the visuals, which were nominated at the Oscars for Art Direction and Costumes, but passed over in favor of The English Patient. If you ever get bored, you can stare at the details in the costumes or sets and be perfectly entertained. In Hamlet's library, the shelves are full of books stacked in different directions, knick-knacks crowding the shelves, and pictures lining the walls. The main hall is covered in a stunning patterned floor, adorned with beautiful furniture, and crowned by a staircase that frames the shots very nicely. The setting was adapted to the late 1800s, and Alexandra Byrne's costumes are rich and beautiful.

Every Shakespeare has its highs and lows, and even though I'm heaping praise on this version, there are some boring bits. After all, the screenplay didn't cut any of the original text! The highlights are the visuals, a wonderful performance by Charlton Heston, and Kenneth Branagh's emotional outbursts. The "get thee to a nunnery" scene is very touching, and it's inventively filmed in a room of mirrors. Weigh the pros and cons to help you decide which version you want to rent.

With his film Hamlet, actor/director Kenneth Branagh became the first film-maker to adapt the entirety of Shakespeare's play to film. It's no mean feat that he managed to do this in a way that truly makes the material seem cinematic without losing any of the essence of the work as it was originally created.

Although most films don't have anywhere near the amount of dialogue that Hamlet does, the film doesn't suffer as much as it could have from an overabundance of words. The film is full of sumptuous visuals, particularly in the multitude of interior shots of the castle which called to mind the elegant interiors of Luchino Visconti's classic film The Leopard. It's true that the images might have been even more powerful if they had been allowed time to sink in without the distraction of the dialogue, but Branagh as a director does an excellent job of pacing the shots to get the best effect. Another way that he manages to avoid the pitfall of staginess is through judicious editing, particularly with the use of brief flashbacks to represent Hamlet's memories in one key scene. Between the great lines by Shakespeare and the great images by Branagh, this film's four hour runtime fairly whizzed by.

Although Branagh was a bit older than I imagine Hamlet to be, he still manages to pull off his eponymous role quite well. The supporting cast is also good, particularly Billy Crystal in a brief but memorable role as a wisecracking gravedigger. Cameos by Jack Lemmon, Gerard Depardieu, Charlton Heston, and Robin Williams are also successful to varying degrees but welcome nonetheless as they tend to add some much needed levity to the seriously tragic proceedings.

I don't think this is the space to attempt to get into thematic material of Shakespeare's work but I will say that there really isn't much that has been lost in the adaptation process. Not only does this help enrich studies of the original text, it also is as successful in its own right as any straightforward Shakespeare adaptation I've seen. There's really very little to quibble about in this excellent film.

This movie does everything it can to bring Shakespeare's work to life in the new medium. The story is presented unabridged, but with cinematic flair: the production and costume design are top notch, the music compliments it excellently and the calibre of actor is unparalleled (Kenneth Branagh and Derek Jacobi in particular impressed me). And flair really is the word for this film. A sense of bombast is brought to it, which we rarely see in Shakespeare adaptations: usually these works are treated as high are which cannot be degraded through extravagence, but here we see the Earth cracking open, we have massive armies, we have extravagent fight scenes. This really brings a sense of life to the material that makes it fly by (especially for a four-hour movie).

So maybe you find it strange that it's still only an 8/10. Well, as far as I'm concerned an unabridged adaptation of a Shakespeare play can't really beat that. This film inherits the typical mishaps of his work: people behave out-of-character to contrive the necessary plot developments, vital plot elements take place off screen (including a central character's death!), the climax feels annoyingly unclimactic and so on. To make a truly excellent Shakespeare adaptation, one would have to take liberties with the plot and this film goes out of its way to alter as little as possible from the original script.

(I know some people find this kind of talk about Shakespeare unthinkable, but come on, let's stop treating him like a god; he was a writer with flaws like any other. And he wrote four hundred years ago; storytelling has come a long way since then. It's no slight against him to say that his works don't hold up perfectly hundreds of years later.)

That being said, for what it is, it is a triumph: brilliantly performed and with a great style, an epic in every sense of the word.

I saw this film on its release, and have watched it 3 or 4 more times, including last week. I regret I have to be a voice of dissension with regard to Mr. Branagh's performance.

This is really a glorious, sumptuous film, to say nothing of ambitious at over 4 hours long - beautifully shot and designed. Derek Jacobi, Julie Christie, Kate Winslet, Richard Briers, and many others do fine jobs. Then there's Kenneth Branagh. If ever there was a vanity project for an actor, this is it, and Mr. Branagh spares nothing in putting the "ham" in Hamlet. From the stunt casting (which gives us the worst performance ever by the woefully miscast Jack Lemmon), to the bits of distracting business thrown in to infuse a sense of "naturalness," to his own performance which runs the gamut from throwing away the single most famous soliloquy in all of literature to screaming every line of others. His performance confirms that, while he may come across better on stage where bigger is necessary, he has never been a great film actor. The scenery budget could be charged to catering, Mr. Branagh eats so much of it. His performance is a perfect example of why people don't go to see Shakespeare - "full of sound and fury, signifying nothing." And if there is fault to his direction, it is that he keeps the camera firmly glued on his overblown performance.

No matter what theories people may posit on the Bard, he was, after all is said and done, a playwright. The brilliance of his plays rest in the fact that his themes are universal and timeless. Although there is no "right" way to play his plays, there is most certainly great acting, good acting and bad acting. Shakespeare himself gives instructions to the players in the text of "Hamlet" itself. It amazes me how Mr. Branagh "mouthed" it, but did not hear it. It was an example of spending too much time working out how he's going to say something, and too little figuring out WHAT he's saying.

While Mr. Branagh has certainly done a wonderful job in mounting some entertaining productions, he would be wise to stay behind the camera and allow those who know the art of acting to practice it. His direction has always been better than his acting. I still give him immense credit for resurrecting interest in filming Shakespeare. He set a great template for other productions. And, it would be interesting to see him onstage, from about 20 rows back. But, I do hope he chooses to direct more and act less.

Is it worth seeing? Certainly. There are many little joys to be found in the film. But, it's a long, long movie and, by the end, one may feel less that they enjoyed than survived it.