Nicol Williamson takes the lead role in this star-studded 1969 version of William Shakespeare's tragedy. Prince Hamlet mourns both his father's death and his mother's remarriage to Claudius... See full summary »

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Cast

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Mark Dignam ...
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Ben Aris ...
Clive Graham ...
Peter Gale ...
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John J. Carney ...
Player King (as John Carney)
Richard Everett ...
Robin Chadwick ...
Ian Collier ...
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Storyline

Nicol Williamson takes the lead role in this star-studded 1969 version of William Shakespeare's tragedy. Prince Hamlet mourns both his father's death and his mother's remarriage to Claudius. When the ghost of Hamlet's father appears to him and tells him that Claudius has poisoned him, Hamlet swears revenge. Written by Anonymous

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Plot Keywords:

death | tragedy | revenge | prince | ghost | See All (51) »

Taglines:

The Hamlet of our time, for our time. See more »

Genres:

Drama

Certificate:

G | See all certifications »
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Details

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Release Date:

9 April 1970 (UK)  »

Also Known As:

Shakespeare's Hamlet  »

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(Technicolor)

Aspect Ratio:

1.66 : 1
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Did You Know?

Trivia

Extra lines, made to sound like Elizabethan English, were actually added to this version because the order of two crucial scenes was reversed and this could not have been done with the play as written. Director Tony Richardson places Hamlet's taunting of Polonius after the "get thee to a nunnery" scene with Ophelia rather than several scenes before. See more »

Goofs

At c. 147 minutes Gertrude's fillings, obviously the result of C20th dentistry, can be seen clearly. See more »

Crazy Credits

The names of the film's cast and the names of the characters they play are recited by an offscreen voice rather than shown on the screen, in the manner of 'Francois Truffaut's "Fahrenheit 451". See more »

Connections

Version of Hamlet (1976) See more »

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User Reviews

Breath-taking shifts and lighting reminiscent of Rembrandt
12 December 1999 | by (Golden, B. C., Canada) – See all my reviews

Yes, I'll concede that Kenneth Branaugh's uncut version of Shakespeare's text (never played on the Elizabethan stage, in all likelihood) is a benchmark for cinematic *Hamlet*s, but Williamson's performance (particularly his voice-over soliloquies) is still highly thought-provoking thirty years later. The film is like a moving Rembrandt painting (*The Night Watch* comes to mind) with its restless, shifting light and dissolves. It took great courage, for example, for Richardson not to show the Ghost, but rather to reveal him as a burning white light whose impact we feel by the responses of Horatio and the guards. Big budget and big screen it's not, but Richardson's direction has meticulously thought out many significant production details. This is definitely a cerebral *Hamlet* that gives the view


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