Hamlet

Kenneth Branagh has probably done more to popularize Shakespeare than anyone in this century and his films have proven that it is possible to present Shakespeare to mainstream audiences without selling short the material. Despite his success, however, Branagh has yet to fully garner an appreciation commensurate with his invention. Rarely is his work spoken of as groundbreaking, but he is certainly the most brilliant-and important film-maker to emerge in the 90s.

Predictably, his latest film, Hamlet is nothing short of amazing, and contains some of his finest work yet, both as director and performer. Branagh's visual scheme for Hamlet-the opulent 19th century palace and cold, snowy exteriors (influenced by Schaffner's 1971 epic Nicholas and Alexandra) is obviously not the setting Shakespeare envisioned. Nevertheless, the director exhibits a purism which neither Franco Zefferelli nor Laurence Olivier did in their films of Hamlet-Branagh has filmed the play in its complete and unabridged form, resulting in a film four hours in length.

Hamlet boasts a cast of well-known international stars, all of whom prove superb. Jack Lemmon is wonderful as Marcellus, as is Charlton Heston as the leader of the players. Casting comedians such as Billy Crystal as the gravedigger and Robin Williams as Osric was a gamble, but it pays-off; both deliver first-class performances (especially Crystal). Gerard Depardieu, on the other hand, is thoroughly wasted as Reynaldo. One of the finest actors of our time, Depardieu is lamentably used in just one scene where he has little dialog and mostly just nods.

The larger roles, however, are reserved mainly for Branagh's regular "troupe," all of whom are as usual, brilliant. Richard Briers gives yet another outstanding performance as Polonius. Most impressive, however, is Derek Jacobi (star of the TV series Cadfael), who elicits both sympathy anddisdain in the role of the villain Claudius. New to Branagh's work are Kate Winslet, who makes for an ethereal Ophelia, and Julie Christie as Gertrude.

The photography is exquisite, the work of Alex Thomson, BSC (Excalibur, Legend). Branagh lobbied to shoot Hamlet in 65mm, and it is only the third film since the 60s to utilize this format. The decision pays off magnificently, with crisp, impeccable detail. (Most cinemas are not equipped to screen 65 or 70mm prints, but the difference is obvious even in 35mm reduction prints.) Patrick Doyle's score is eloquent and understated, and it is clear that he has now a better grasp of scoring under dialog than in his early days (as with the frenetic bombast of Henry V).

While one admires Branagh's fidelity to the text, comparisons to other Hamlet films are hard to resist. At 2.5 hours Zefferelli's film had a quicker pace, but justified its "pruning" by telling the story in a more visual, cinematic way. (For instance he showed Rosencranzt and Guildenstern being dragged to the chopping block, as opposed to the English Ambassador merely telling of their fate.)

But one cannot argue that since the majority of people will be exposed to Shakespeare only in the cinema, there is a great need to have his work presented in a more definitive fashion. The length and tragic intensity of Kenneth Branagh's Hamlet make viewing it an exhausting experience, but ultimately a very rewarding one as well.

-Paul Andrew MacLean

© 1998

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