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Hamlet (1996)

PG-13 | | Drama | 25 December 1996 (USA)
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Hamlet, Prince of Denmark, returns home to find his father murdered and his mother remarrying the murderer, his uncle. Meanwhile, war is brewing.

Director:

Kenneth Branagh

Writers:

William Shakespeare (play), Kenneth Branagh (screenplay)
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Popularity
3,533 ( 96)
Nominated for 4 Oscars. Another 9 wins & 20 nominations. See more awards »

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Cast

Cast overview, first billed only:
Riz Abbasi Riz Abbasi ... Attendant to Claudius
Richard Attenborough ... English Ambassador
David Blair ... Attendant to Claudius
Brian Blessed ... Ghost of Hamlet's Father
Kenneth Branagh ... Hamlet
Richard Briers ... Polonius
Michael Bryant ... Priest
Peter Bygott Peter Bygott ... Attendant to Claudius
Julie Christie ... Gertrude
Billy Crystal ... First Gravedigger
Charles Daish Charles Daish ... Stage Manager
Judi Dench ... Hecuba
Gérard Depardieu ... Reynaldo
Reece Dinsdale ... Guildenstern
Ken Dodd ... Yorick
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Storyline

Hamlet, son of the king of Denmark, is summoned home for his father's funeral and his mother's wedding to his uncle. In a supernatural episode, he discovers that his uncle, whom 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 whom 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 <brossj5683@aol.com>

Plot Summary | Add Synopsis

Genres:

Drama

Motion Picture Rating (MPAA)

Rated PG-13 for some violent images and sexuality | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

UK | USA

Language:

English

Release Date:

25 December 1996 (USA) See more »

Also Known As:

William Shakespeare's Hamlet See more »

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Box Office

Budget:

$18,000,000 (estimated)

Opening Weekend USA:

$148,321, 29 December 1996, Limited Release

Gross USA:

$4,414,535, 13 April 1997
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

| (cut)

Sound Mix:

70 mm 6-Track (70 mm prints)| Dolby Digital (35 mm prints)| SDDS (35 mm prints)

Color:

Color (Technicolor)

Aspect Ratio:

2.20 : 1
See full technical specs »
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Did You Know?

Trivia

This was writer and director Sir Kenneth Branagh's first 70mm shot movie. He used it again for Murder on the Orient Express (2017). See more »

Goofs

There is an electric cord visible coming out the back of a lamp on a table near the window during Hamlet's long soliloquy in his chamber. See more »

Quotes

Polonius: How dost my good lord Hamlet?
[Turns a corner and is shocked by a mask-wearing Hamlet]
Hamlet: Well. God a' mercy.
Polonius: [Astonished at Hamlet's peculiar behavior] Do you know me my lord?
Hamlet: Excellent well. You are a fishmonger.
See more »

Alternate Versions

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 »

Connections

Version of 'Amlet (1919) See more »

Soundtracks

In Pace
Performed by Plácido Domingo
Text researched and adapted by Russell Jackson
See more »

Frequently Asked Questions

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User Reviews

Two Palettes: Film and Mind
25 May 2000 | by tedgSee all my reviews

As a play, Hamlet is an anchor of civilization, and even moderately successful films are worth seeing. But in making the translation to film, the artist has two challenges.

The first concerns the work as drama. This is Shakespeare's most ambitious vision, one he tinkered with and enlarged both conceptually and literally. The purest choice, the only choice which can encompass the full weave of the work, is to include everything -- and that's what Branagh has done. Consequently, this work has extra dimensions of life. In doing so, he's included some nice touches:

--gone are superficial hints of mother-lust in the closet scene. These were never in the text.

--we are reminded that Hamlet's initial and sustaining anger is because his uncle jumped into the line of succession

--we see the hints that Hamlet was a student of Bruno in the book on witchcraft he consults after seeing the ghost. Also his book on `matters' (often thought to be Bruno's) is actually given to Ophelia. Nice. Shows deep research.

--Polonius is treated humanely, as more than a dottering fool. This makes Ophelia's loss (and earlier obedience) believable.

The second challenge is cinematic. The play was written for sparse settings; it translates naturally to audio tape and unnaturally to film. So the filmmaker has an open palette. Branagh makes some interesting choices. Many work extremely well, in particular the mirrors in the `to be' and Ophelia sequence. Others are strange:

--he introduces recognizable actors in secondary roles to jar us into the realization that this is a play. (One of these is really funny. How do you portray an actor among actors playing non-actors. Well, you get a noticeably BAD actor. I wonder if Heston knows he'll be goofed on for this for many decades as this film outlives his sandled perorations.)

--he introduces some almost satirical film reflections: a cheesy ghost, an Errol Flynn chandelier swing...

--he provides visual overlays for some of the images implied in the text: Hamlet's lovemaking, considerations in Norway, reflections of the players. This ruins a few of the important ambiguities but we do have a wealth to spend after all.

--in perhaps the worst loss of ambiguity, he makes Fortinbras an invader. This is done only to allow for some cinematic sweep at the end. Okay, I'll reluctantly buy it since the alternative is extended mugging in the death scenes.

I think Branagh and collaborators meet the first challenge nearly perfectly. As to the second challenge, this is our very best film version, in part because of extending the US tradition of playing the characters as real people (versus the UK tradition of characters as speechifiers). So far as the cinematic challenge, there are some great, really great visions here, but there are also some big cinematic misses which keeps this far from perfect. Until Greenaway attempts it, this is the best film Hamlet we have, and that simply makes it one of the best, most rewarding films ever. I'll bet Branagh tries again before he dies.


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