HAMLET
A film review by Ivana Redwine
Copyright 1997 Ivana Redwine
Kenneth Branagh, Derek Jacobi, Julie Christie, Richard Briers, Nicholas Farrell, Michael Maloney, Brian Blessed, Rufus Sewell, Billy Crystal, Jack Lemmon, Charlton Heston, Gerard Depardieu, Rosemary Harris, Timothy Spall, Reece Dinsdale, Robin Williams. Directed by Kenneth Branagh. Screenplay Kenneth Branagh, based on William Shakespeare's play. MPAA Rating: PG-13 (violence, sexual situations). Running Time: 238 Minutes.
WARNING: This review contains spoilers.
Until I saw Kenneth Branagh's 238-minute, full-text version of HAMLET, I thought nothing could rival Laurence Olivier's classic 1948 film version. I've always loved Olivier's subtle, sensitive, and poetic performance as Hamlet, in addition to the way that his film wrapped everything in a moody black and white chiaroscuro. But Branagh has created a powerful masterpiece that is psychologically complex and lushly cinematic. Never have all the nuances of Shakespeare's story been more vibrantly examined on screen. I predict that Branagh's HAMLET will eventually become the definitive film version of Shakespeare's play; yet, I make this prediction with some degree of sadness because Olivier's version has always been one of my favorite movies.
Of course, Branagh had advantages that Olivier could only dream of in 1948, including a studio willing to finance and release a version that is nearly four hours long. With an hour and 20 minutes less to tell the story, Olivier's version is less dramatically coherent and omits some rather important minor characters, notably Rosencrantz and Guildenstern. Also, Branagh had at his disposal the magician's bag of technical tricks available to today's filmmaker, including digital special effects. I only hope that people who are excited by Branagh's HAMLET might be inspired to take a look at Olivier's film in order to compare different takes on Shakespeare's classic story.
Both Olivier and Branagh have managed to breathe the kind of life into the title role that makes for a classic film. Branagh's interpretation of Hamlet differs greatly from Olivier's, but then there is no correct way to play the role. Olivier's Hamlet is focused on the character's melancholia and indecisiveness, while Branagh encompasses a greater emotional range, running through a spectrum from an almost serene state of intellectual contemplation to an intense anger that threatens to tear his sanity apart. Thus, there are more nuances in Branagh's portrayal than in Olivier's.
Branagh's film is a veritable feast for the eyes with dazzling cinematography that is all the more vivid because of the crystalline clarity and trompe l'oeil depth of the 70 mm format. And Branagh makes excellent use of color in his film, made credible in part by changing the setting of the story to the latter half of the nineteenth century. This change also justifies impressive location shooting at Blenheim Palace, which plays the role of Shakespeare's Elsinore Castle. However, as richly visual as this film is, its dynamic visual aspects never detract from the substance of the story or the beauty of Shakespeare's words.
At the core of the artistry in Branagh's movie is that all the elements of film making come together in a seamlessly integrated work. Where Branagh's film outshines Olivier's is in its intricacy and in its ability to bring image, word, performance, and music into a gestalt of pure genius.
The story of HAMLET has to be one of the most famous in the English language, but I'll refresh your memory with a broad synopsis. The film's focal character is the Danish prince Hamlet, who is deeply disturbed over his mother Gertrude's (Julie Christie) quick marriage to Claudius (Derek Jacobi), the brother of Hamlet's dead father. Soon, Hamlet has an encounter with what appears to be his father's ghost, who informs him that Claudius murdered him and that it is now Hamlet's duty to take revenge for this murder by killing Claudius. The tragedy then grows out of Hamlet's delay in carrying out this revenge.
Branagh's film illuminates an often overlooked aspect of the story, namely that it is not merely a personal tragedy for Hamlet, but it is also a tragedy for Denmark and its people. Because of Hamlet's indecisiveness, the Danes must endure the consequences of a political power vacuum and corrupt leadership. Then, near the film's end, there are scenes of Hamlet fighting a duel in Elsinore Castle interspersed with scenes of Fortinbras, Prince of Norway, and his army closing in on the Castle. At the end of the duel, the Danish Prince, King, and Queen all lie dead and the fate of Denmark and its people has fallen into the hands of Fortinbras.
Branagh's HAMLET makes good use of the classic Shakespearean motif of illusion and reality. In a scene that filled me with terror, Hamlet meets the ghost of his father (played menacingly by Brian Blessed). Special effects along with excellent acting and direction make the ambiguity between specter and hallucination come alive on the screen. There is a supernaturally sharp focus to this scene, and Blessed's eyes are a deathly shade of blue and strangely distorted. At times his face and eyes fill the screen. The ghost's highly processed voice (it reminded me at times of Darth Vader's voice in STAR WARS) rumbles across the surrounding area, cracking open the ground under Hamlet's feet. When the ghost instructs Hamlet to "Remember me!", there is little doubt that Hamlet could ever forget.
The difficulty in distinguishing between illusion and reality is clearly a factor in Hamlet's delay in killing the King. Before carrying out this act of revenge, Hamlet must determine the veracity of what he believes he saw and heard. Was it a hallucination, an apparition, or even the devil in disguise? Or was it the actual ghost of his father's spirit? Dramatic tension is maintained throughout the film; and until the dueling scene near the movie's end, it is neither clear nor simple when or whether Hamlet should take action on the ghost's mandated revenge.
Another strong scene that also echoes the motif of appearance and reality is when Hamlet "tests the conscience of the king" by altering a play put on by a traveling group of players to mirror the ghost's description of the murder. Hamlet hopes that Claudius's reaction will determine if the ghost was telling the truth. Hamlet feigns an "antic disposition" to camouflage his actions and protect himself from Claudius, who poses a real threat to him if he knows that Hamlet suspects him of regicide. Branagh's performance is what makes this scene so dynamic. While waiting to see how Claudius reacts to the play, Hamlet struggles within himself trying to contain an anger that is tearing his sanity apart. As the scene progresses, it is not entirely clear whether the madness he is putting on is an act anymore.
Every aspect of Branagh's production, even set design, enhances meaning and emotional impact. The main gallery of Elsinore Castle contains a hall of mirrors that cast a dizzying myriad of reflections and conceal doors leading to secret rooms--a breathtaking visual metaphor that again echoes the motif of illusion and reality. It is to one of these mirrors that Branagh delivers the famous "To be, or not to be" soliloquy. As the soliloquy progresses, the camera comes in tighter and tighter on the reflection until it appears to be Hamlet himself who is speaking and not his reflected image.
Another strength of this film is how it uses visually stunning images to intensify dramatic impact. For example, in one scene Hamlet slowly inserts a blade aimed at the head of Claudius who is alone at prayer. On the surface, it appears to be the perfect time to act out the revenge. As Hamlet debates the merits of killing the repentant Claudius, the blade inches closer to the head of Claudius who is oblivious to the threat that is just a hair's-breadth away. Hamlet decides that killing Claudius would be an unsatisfactory form of revenge since Claudius's soul would go to heaven since he is at prayer, and the blade is then slowly withdrawn. The knife being inserted through the screen adds power and dramatic tension, making an already thrilling scene burn white-hot with emotion.
Branagh's performance is magnetic; his performance acts as a center of gravity. Yet, the other performances are strong enough not to be overwhelmed. Branagh assembled an international cast of the highest caliber, and most of the performances are exemplary. I'll comment on a few that impressed me most. Derek Jacobi's Claudius has a regal and controlled surface demeanor that occasionally cracks to reveal the dangerous monster lurking just underneath his public facade. Claudius here is a cold-blooded, pragmatic man, and Jacobi makes him as bone-chilling as the snow-covered landscape just outside the castle walls. The character of Gertrude has so often been portrayed as weak-willed and passive, but Julie Christie plays this role with a hedonistic charisma that speaks to Claudius's motivation--as evil as his actions are, they are not beyond the pale of credibility given the attractiveness of Christie's Gertrude. Kate Winslet is well cast as Ophelia, bringing an air of vulnerability to the role, which, when combined with flashbacks showing a sexual relationship between Hamlet and Ophelia, makes the character's eventual emotional breakdown more believable to contemporary audiences.
Added to the mix of Shakespearian actors, there are quite a few recognizable faces from Hollywood--Charlton Heston, Billy Crystal, Robin Williams, Jack Lemmon. With the exception of Jack Lemmon, who is badly miscast as Marcellus, their performances hold up well against the competition. Heston is a wonderful choice for the role of the Player King; his rich voice and clear delivery are perfect for Shakespeare. And Crystal's considerable comedic gifts make the conversation between the two grave diggers sparkle with wit and humor.
The four-hour version of HAMLET was released on Christmas Day in New York, Toronto, and Los Angeles, in the 70 mm format, and a shorter, 35 mm version will also be released nationwide at the end of January, 1997. Given the positive response to the longer version, I hope that it will also remain in release, at least in larger cities and university towns. With its visual vividness, emotional depth, and complexity, the longer version is the one I recommend. Don't let the length scare you; the longer version is a highly entertaining film. Plus, a film like this produces an event atmosphere where you can catch a theater-like spark of excitement in the air during intermission. For Shakespeare lovers this is a dream come true; if you are not a Shakespeare lover, this might just turn you into one. Don't miss one of the film experiences of a lifetime--HAMLET has never before been realized with such power, passion, and pathos.
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