Laurence Olivier-Hamlet (1948)

Winner of four Academy Awards, including Best Picture and Best Actor, Sir Laurence Olivier’s Hamlet continues to be the most compelling version of Shakespeare’s beloved tragedy. Olivier is at his most inspired—both as director and as the melancholy Dane himself—as he breathes new life into the words of one of the world’s greatest dramatists. Criterion




William Shakespeare's tale of tragedy of murder and revenge in the royal halls of medieval Denmark. Claudius, brother to the King, conniving with the Queen, poisons the monarch and seizes the throne, taking the widowed Gertrude for his bride. Hamlet, son of the murdered King, mournful of his father's death and mother's hasty marriage, is confronted by the ghost of the late King who reveals the manner of his murder. Seeking revenge, Hamlet recreates the monstrous deed in a play with the help of some traveling actors to torment the conscience of the evil Claudius. In a visit with his mother, Hamlet expresses his anger and disappointment concerning her swiftly untimed marriage. Thinking a concealed spy in his mother's chamber to be the lurking Claudius, he mistakenly kills the meddling counselor, Polonius, father of Ophelia and Laertes. Claudius, on the pretext that Hamlet will be endangered by his subjects for the murder of Polonius, sends the prince to England. (http://imdb.com/title/tt0040416/plotsummary)




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. This is a Hamlet for the ages. The rest is silence. (–Kevin Mulhall - Editorial Reviews - Amazon.com)