The Moorish General Othello is manipulated into thinking that his new wife Desdemona has been carrying on an affair with his Lieutenant Michael Cassio, when in reality, it is all part of the scheme of a bitter Ensign named Iago.
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As Macbeth rides home from battle, three witches stop him. They tell him that he will soon rise in power, first becoming Thane of Cawdor and then King of Scotland. King Duncan has just ... See full summary »
Hamlet (Sir Kenneth Branagh), son of the King of Denmark (Brian Blessed), is summoned home for his father's funeral and his mother Gertrude's (Julie Christie's) wedding to his uncle Claudius (Sir Derek Jacobi). In a supernatural episode, he discovers that his uncle, who he hates anyway, murdered his father. In an incredibly convoluted plot, the most complicated and most interesting in all literature, he manages to (impossible to put this in exact order) feign (or perhaps not to feign) madness, murder the "Prime Minister", love and then unlove an innocent who he drives to madness, plot and then unplot against the uncle, direct a play within a play, successfully conspire against the lives of two well-meaning friends, and finally take his revenge on the uncle, but only at the cost of almost every life on-stage, including his own and his mother's.Written by
John Brosseau <firstname.lastname@example.org>
Choreographing the numerous intricate dolly shots in this movie required a high degree of coordination between the actors, actresses, and the crew. They sometimes rehearsed as much as three hours for a single set up. Adding to the difficulty were the numerous mirrors lining the set of the great hall. Each shot was carefully scrutinized in playback to make sure that no crew or equipment were reflected in the mirrors. At one point during rehearsals for the "To be or not to be" monologue, one of the dolly grips gave Kenneth Branagh a note about his pacing, to insure he completed his line before the dolly became visible. See more »
As Claudius and Gertrude welcome Hamlet back to Denmark in the throne room, the ladies to the side change places. See more »
Wither with thou lead me? Speak. I'll go no further.
My hour is almost come when I to sulph'rous and tormenting flames must render up myself.
Alas, poor ghost.
Pity me not, but lend thy serious hearing to what I shall unfold.
Speak. I am bound to hear.
See more »
Two versions should have been theatrically released at the same time: a complete 242-minutes director's cut shown only in selected venues (large key cities) and a shorter, wide-release version that ran about two-and-a-half hours. After some critical backlash, Castle Rock decided to release the complete 4 hours everywhere in the US and use the shorter version for some overseas territories. See more »
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?).
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