Product Details

• Actors: Laurence Olivier, Peter Cushing, Eileen Herlie, Stanley Holloway, Esmond Knight
• Format: Black & White, Closed-captioned, DVD, Full Screen, NTSC
• Language: English (Dolby Digital 2.0 Mono)
• Subtitles: English
• Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  
• Aspect Ratio: 1.33:1
• Number of discs: 1
• Rated: Unrated
• Studio: Criterion
• DVD Release Date: September 19, 2000
• Run Time: 155 minutes
• Average Customer Review: 4.5 out of 5 stars  See all reviews (65 customer reviews)
• ASIN: 0780021312
• Amazon Best Sellers Rank: #22,176 in Movies & TV (See Top 100 in Movies & TV)
• For more information about "Hamlet (The Criterion Collection)" visit the Internet Movie Database (IMDb)

Editorial Reviews

Amazon.com

In the opening scene of Hamlet (1948), Laurence Olivier's voice-over describes the play as "the tragedy of a man who couldn't make up his mind." But Olivier's screen adaptation is considerably more thoughtful and complex than this thesis would suggest. Drawing on his experience playing the prince on stage at Elsinore in 1937, the legendary thespian provides the film with the patina of greatness and shows how the constitution of the formerly cheerful prince weakens increasingly under the burden of his own thoughts and inability to accept his mother's hasty marriage to uncle Claudius (Basil Sydney). As Ophelia, Jean Simmons captures the character's early spirit better than her gradual disintegration. Purists may bemoan the loss of Fortinbras, Rosencrantz, and Guildenstern, but these choices allow Olivier to focus more squarely on Hamlet's plight. The winner of four Oscars^® (Best Picture, Actor, Art Direction, and Costumes), this is a Hamlet for the ages. The rest is silence. --Kevin Mulhall

Product Description

Studio: Image Entertainment Release Date: 09/19/2000 Run time: 155 minutes

Customer Reviews

Most Helpful Customer Reviews

46 of 51 people found the following review helpful:

3.0 out of 5 stars Entertaining, but a lot is missing, February 19, 2001

By A Customer

This review is from: Hamlet (The Criterion Collection) (DVD)

Laurence Olivier's Hamlet, at 153 minutes, is no popcorn flick. However, in order to get the film down to this rather long length, Olivier had to make significant cuts to the famous Shakespearean play. As a film that won four Oscars, this is (was) mainstream entertainment. Presenting Hamlet in its entirety (or even close to its entirety) under these circumstances was therefore an impossibility. Olivier's modifications come in three forms: small deletions from speeches and conversations, "streamlining" of main story lines, and cuts of entire subplots. The first, least drastic change, leads to the second, and finally the third, and greatest, of the changes. The cutting of lines has the least effect on the production's ability to tell the story. The removed lines are usually unnecessary and repetitive, and the transitions are smooth. Without a written version of the text in front of him, a viewer (unless he knows the play extraordinarily well) can rarely pick out where a line has been cut. A good example of this seamless cutting follows the ghost's exit in the bedroom scene. Hamlet's speech to the queen (Act III, scene iv, lines 144-159) is cut approximately in half, by cutting 2-3 lines from three different places. Such instances - cutting a line here, three lines there, etc. -- can be found throughout the production, but in order to locate them one must follow along with a written text. Rearranging parts of play adds to the continuity of storylines and makes the story itself easier to follow. Viewers familiar with Hamlet, however, will probably find these modifications more jarring. Most of the time this "streamlining" is logical. For instance, the meeting of Hamlet and Ophelia in the nunnery scene directly follows the planning of this meeting by the King, Queen, and Polonius, and Hamlet's "fishmonger" conversation with Polonius. In the play itself, this storyline is interrupted by the players' arrival, but in the Olivier production this event takes place after the unfolding of the nunnery scene. Once again these modifications take place throughout the play. The third, and most obvious modification that Olivier makes is the total removal of subplots, as well as other major events. These cuts have a great impact on the telling of the play. Cutting the Player's recitation of the fall of Troy causes Hamlet's soliloquy, "What a rogue and peasant slave am I..." to be cut. Olivier's decision to delete the character Fortinbras, has great consequences, because this necessitates cutting Hamlet's final soliloquy, "How all occasions do inform against me... ." The ending of the play is also altered by this choice. The deletion of two rather prominent characters, Rosencrantz and Guildenstern, has the greatest effect on the play because the deletion or transplantation of several scenes results. The cuts of a line here and there can be viewed as creating a snowball effect that leads to the rearranging of scene, and the rearranging leads to the cuts of whole storylines and events. Most of the material that is cut by the minor deletions is repetitive, and these choices have little immediate effect. However, Shakespeare had a purpose in these repetitions, and that was to ensure that the audience could follow the play. By removing this repetition, one also makes the play considerably more difficult to understand. Olivier employs a logical solution -- that is, increasing the continuity of the story. This requires the rearranging that is so prevalent in his production. However, if one rearranges all of the critical scenes of Hamlet so that they unfold chronologically, then one is left with a considerable amount of unnecessary scenes and even storylines themselves. Therefore, Olivier's decision to cut these excess storylines again seems logical. A viewer familiar at Hamlet may at first find these modifications very uncomfortable, but when one analyzes what caused Olivier to make the decisions he did, these rather sweeping changes become perfectly acceptable.

108 of 134 people found the following review helpful:

4.0 out of 5 stars Reviewing this film is a trap, August 10, 2000

By 

Xeneri - See all my reviews

This review is from: Hamlet (The Criterion Collection) (DVD)

Consider this: Shakespearean films more than other films are dependent upon the director's translation of the text. HAMLET in particular has been adapted roughly 43 times in film. I'll say up front that this version is not my favorite interpretation, but I won't deny that it certainly set the standard back in its day.

For those unfamiliar with the play, Hamlet's father, the king of Denmark, has recently passed away and he resents the speed with which his mother, Queen Gertrude, remarried. It doesn't help that her new husband is the dead king's brother, Claudius. Soon an apparition who is the spirit of his father, the dead king, visits Hamlet. The ghost explains that Claudius, Hamlet's uncle, murdered him in his sleep and tells Hamlet to avenge his death. The remainder of the story primarily revolves around the Prince's struggle to stop thinking and start doing (exemplified by the famous "To be, or not to be" speech. Can Hamlet do what it takes to truly avenge his father's death?

Olivier and his much-celebrated interpretation of HAMLET are considered by many to be the best of all Shakespeare film adaptations -- it certainly bears the indelible stamp of its director/star's personality. Apparently, the Academy agreed rewarding it with Best Picture, Best Actor, Best Supporting Actress and Best Costume Design and among others. (Trivia: Olivier's direction was also nominated losing to John Huston for "The Treasure of the Sierra Madre" in 1948).

Olivier's take on Shakespeare's story of madness and murder most foul is unmistakably cinematic -- he takes full advantage of the medium, avoiding the trap of merely filming a play as some Shakespeare adaptations do, with monologues delivered as internal thoughts heard in hushed voiceovers. He occasionally uses dizzying camerawork to show Hamlet's inner turmoil, a trick that could never have worked on stage. The setting, lighting, and cinematography are wondrous setting the somber and Gothic tone.

Some notable scenes for me include the sequence where the Ghost appears. Olivier uses sound and voice to create the disorientation that Hamlet and others feel when in the presence of the supernatural for a great creepy effect. Another arresting scene is when Laertes and Claudius are planning the murder of Hamlet. It starts with a close shot of the duo but slowly backs away, as if it wants to separate itself, and the audience, from the bloody deeds being discussed.

But there are many disappointing choices made. Substantial cuts were made to the text (forgivable if you realize he needed to cut a 4-hour play into at least 2 hours. The omission of the characters of Rosencrantz and Guildenstern (childhood friends of Hamlet who are ultimately killed because they were too loyal to Claudius, and not to the Prince) is unfortunate as they bring so much contrast and subtle texture to the play.

While I am a great fan of Olivier's, I strongly believe there were certain roles that were out of his range, Hamlet topping the list. (And I'm not even going to talk about the fact that 41 year old Olivier is playing a character who is in his mid to late twenties.) Olivier also insists on taking the Freudian approach with Hamlet and his mother Gertrude, an idea not really supported by the text suggesting that the real reason Hamlet is upset is not so much due to his father's murder, but that he should be with Gertrude, not Claudius. But the thing that nags at me most is that Hamlet is fundamentally a man of action, though a man of action who is aware that his actions have consequences. He is divided: determined to act, destructive when he does act, and consequently disconnected from his actions. But while Olivier lives well in the language and his rendering of the lines is a kind of dark poetry, his overall portrayal is mannered and brooding and almost petulant. It's a disappointing adaptation by an otherwise brilliant actor.

Now as a DVD, this release of HAMLET is by the superior Criterion Collection. Criterion DVD's are often considered to be state-of-the-art, and this one is no exception presenting a nicely restored film good quality and sound. A definite must for a film collector. Having said all that, I'll end my review this way: again, this is not my favorite version of HAMLET (go watch Branagh's, Zeffirelli's or even Mel Gibson's versions) but as a piece of cinematic history this is definitely a watchable film worth seeing for it's accomplishments and cinematography.

15 of 17 people found the following review helpful:

5.0 out of 5 stars Essay, Laurence Olivier's Hamlet in comparison to BBC Versio, November 22, 2004

By 

Fan Wang - See all my reviews
(REAL NAME)   

This review is from: Hamlet (The Criterion Collection) (DVD)

Many critics have viewed the Lawrence Olivier version of Hamlet to be the best among the 43 film adaptations of Hamlet. The film won four Academy Awards, and Lawrence Olivier amazingly gained two Academy Awards for both directing and acting. The Jacobi Hamlet, on the other hand, was a BBC TV film put together in a short time with a small budget during the late 70s. (As a side note, Jacobi was actually introduced into Shakespearean acting by Olivier.) Despite this difference in prestige, the films presented two equally valid interpretations of Hamlet. The central issue was if Hamlet was mad, and through manipulations of voices and the degree and timing of Hamlet's violent actions, the audience was faced with two emotionally upset Hamlets, one who had more madness and the other who had more control.

Both Hamlets were emotional in their voices and had bursts of anger, but Olivier was more rational and controlled in his voice then Jacobi, who seemed truly mad. At first, Olivier's voice was calm and determined. There were deep thoughts behind everything that he was saying, and one could sense love in those tender sounds. His voice gradually became more menacing during the "honesty" speech, but it was still well paced and contrived. After the line "get thee to a nunnery ", the voice intensified, yet it was more suggestive than contemptuous. One could at the same time sense a growing tone of disappointment. After questioning the whereabouts of Ophelia's father, Olivier suddenly flooded out a stream loud, angry and disdainful words against Ophelia's virginity and women in general. It might be that Olivier noticed the presence of the King and Polonius, and increased his voice only to trick them. The emotions, however, were deep and real. The scene ended with Hamlet uttering "to a nunnery go" close to Ophelia in a soft and tender manner, and this brought Hamlet back to his previous rational state.

Jacobi's voice was drastically different than Olivier's. Instead of moving gradually from calmness to anger, Jacobi was dramatic throughout. In his utterance, there was from the very beginning a deep sense of yearning, despair and mockery combined with a viciousness that made a lion quiet. At the beginning, he mocked Ophelia's returning of his scarf in a drunken ignorance. Then his voice became a most dark and menacing whisper as he got closer to Ophelia. That same voice grew angrier and louder as he started looking for the King and Polonius. He wanted the King to hear what he was saying in an act of defiance. After questioning the whereabouts of Ophelia's father, this crazy man screamed far and close to her, and the voice reached a climax in speed and freakiness. At this climax, Jacobi's voice suddenly surprisingly melted into a stream of greater sorrow as he cried against Ophelia. Then as if depleted of his emotions, he walked away without much energy left in his voice. A person's mind is only as clear as his words. Jacobi's voice was the most sorrowful and sad, and their extremity made one wonder if he had lost control over himself. In comparison, though Olivier had his burst also, one saw much more elegance and control in him overall.

The two Hamlets were both violent in their actions, but Olivier acted violently with much less regularity and degree in comparison to Jacobi, whose actions were a combination of sexual harassment, pure hitting, and deep love. In Olivier, Hamlet first pushed Ophelia's book down in a pretty forceful manner. As their eyes met at that instant, Ophelia confusion about what to do seemed obvious. In this first encounter, one could sense that even if their love was a broken one, there were still remnants of passion that either could ignore. There was an overall ease. Olivier stood straight and walked fashionably, and despite tensions, there was politeness in the air. Ophelia tried to not look at Olivier, but Olivier walked from her side to side, encroaching closer and closer with a determined calmness combined with a growing menace. Then, after asking where her Dad was, and looking around alarmingly, Olivier suddenly started to strut wildly about the room. Without warnings, he jumped up the stairs, and pushed Ophelia down so hard that she fell unto the ground crying. This time, contrary to before, there was not a bit of love and care in Olivier's eyes. At the end, he kissed her scarf in a loving fashion. This left the audience wondering if he was faking the violence before. Olivier was certainly suffering. Ophelia might have ignited two opposite emotions for him. He loved Ophelia, but at the same time hated woman in general. This confusion contributed to his change in behaviors.

If Olivier's actions were mercurial, Jacobi's actions made one feel as if he had 5 minds fighting against each other at once. His face was not calm like Olivier's; it squinted and sneered most unpleasantly throughout. Near the beginning, he bonded that gift scarf to Ophelia's neck, and than tried to grab her groin. Ophelia looked horrified, and her sufferance was conspicuous through her bewildered and tearful eyes. His actions were so vehement that it would not seem strange for him to pull out a knife at any instance. After asking the whereabouts of Ophelia's father, he went into an even higher level of frenzy. This man rushed toward Ophelia, pushed her down, and accused her of the foulest things, but just as the audience expected more violence, he strangely hugged her tightly with the most ardent passion. With that hug, one could not doubt that he loved her, but then why was he so violent to her before? The only conclusion is that he was suffering under such a heavy burden of revenge, and was so disappointed at his incapability at taking any actions, that he really was becoming crazy.

These two movies interpreted the tones and actions of the Hamlet differently. The king and Polonius were looking for signs of Hamlet's craziness, and they would have collected totally different evidence from the two. The Olivier Hamlet was a struggling prince with a fairly confused mind, but he was mostly in control of himself. Even when he became wild, there was more melancholy than madness in his anger. On the other hand, the Jacobi Hamlet really freaked one out. This Hamlet was certainly in deep pain, but his often too visible sorrow and violence left the audience feeling more horrified than sympathetic. The original title of the Olivier's Oscar winning Hamlet was "An essay on Hamlet", because he directed the movie to show his personal estimations and interpretations of Hamlet. Jacobi himself summed the disparities between Hamlets in an interview with the Christian Science Monitor in 1980, he said,

Really, it is the personality of the actor playing the role which is the determining factor. You don't actually have to play the character, you play the situation in which Hamlet finds himself and your own personality, your own outlook takes over. That's why the part is played differently by so many different actors, all doing perfectly valid interpretations. Hamlet is a universal man, he is all of us.

One can prefer one Hamlet to the other, but no Hamlet is better than another. Shakespeare certainly had his own thoughts about who Hamlet really was, but he also left the question to us, so that we could see which Hamlet we truly are.