Prince_Hamlet_of_Denmark I recently viewed this moving picture (whatever that is--I don't know because I was born in 1570), with my childhood comrades Rosencrantz and Guildenstern. We thoroughly enjoyed the film, finding that its "humours" are perfectly balanced. M. Zeffirelli has endowed our story with the perfect mix of suspense, comedy, and sheer stupidity. I was overjoyed to have been played by such a competent actor as Mel Gibson. He was kind of ugly and his hair was a stupid color (Shouldn't someone have done some fact-checking and realized that my hair is brown?). But I digress--it's all water under the bridge to me. The director definitely took some liberties in adapting the REAL story of my life. I mean, my dad's not even dead!There was one aspect of the film with which I truly took offense, and that was the depiction of my relationship with my late mother, rest her soul. There was this one scene in which, M. Zeffirelli, in what I am sure was merely a case of oversight, had M. Gibson proceed to kiss the actress playing my late mother in a most sensual manner! This was both offensive and ludicrous. Not to mention the whole thing was incredibly uncomfortable. Tell me, M. Zeffireli, do you often kiss your mother in such a way?!?!?! I beseech all who view this film to take it with a grain of salt--do not be fooled by this grave act of trickery. The story is a fallacy. I hereby call for the destruction of all extant copies of this pathetic excuse for a play upon a screen!

TheLittleSongbird I saw this film as I love the play and I do like Franco Zeffirelli(especially for his opera films like La Traviata). While this 1990 film is far from terrible, it is the weakest for me of the three Hamlet films I've seen- I loved Branagh's and especially Olivier's- and possibly Zeffirelli's weakest Shakespeare adaptation also. It does have some undeniably good points, it is very well made with very evocative scenery, beautiful atmospheric lighting, sumptuous costuming and cinematography that is moody yet shimmering. The music is haunting and the sound effects really enhance the mood. The script is condensed, but still is very powerful and moving when needed. Ian Holm is a very effective Polonious, the character is creepier than one would expect but it proved to be an interesting touch. Mel Gibson was better than expected, initially it does scream disaster but actually he is charismatic and delivers his lines with meaning. He is perhaps too old for the role(but understandably as other reviewers have pointed out) and Branagh and Olivier conveyed Hamlet's tragedy more convincingly but coming from a non-fan of Gibson this is not a bad performance at all. The acting honours go to Glenn Close, whose Gertrude is beautifully elegant, expressive and sincere. On the other hand, while it is a long play with much complexity and so forth(therefore a slow unfolding pace is necessary) there are some scenes that do come about as too drawn-out and laborious. Zeffirelli I do like for his sumptuous style and how directs actors(and singers), but he does bring forth ideas that are interesting in hindsight but don't do very well in terms of the motivations of the characters, Orphelia and Claudius in particular really suffer from this, and like his Jane Eyre it does get pedestrian in places. Two performances don't work. Alan Bates did have potential to, he is a great actor and has done creepy and evil very well before in The Shout for example. But, not helped by the fact that the scenes make Claudius the character he is are severely reduced, consequently Bates is never evil enough. The worst offender though is Helena Bonham Carter, she has given very good performances(A Room with a View, Sweeney Tood and Howards End) before and like Bates seemed ideal for the role. The reasons why she wasn't is largely again to do with Zeffirelli, the idea to not have Orphelia poignant and meek and instead have her as the complete opposite, strong-willed and almost headstrong was a big mistake, undermining her lunacy scenes. Whereas they should be moving, this change to the character is partly why Bonham Carter's performance feels wildly overacted. On the whole, didn't really work from my perspective but it is not a bad film. 6/10 Bethany Cox

jdkraus I have not been impressed with most film adaptations off of Shakespeare's work. The only three movies based off of Shakespeare's plays that I would watch are Kurosawa's Ran, the 1970 version of Romeo and Juliet, and this adaptation of Hamlet. Even though many of the lead cast members are American, they pull off their roles wonderfully. Like many people, I'm used to seeing Mel Gibson as the tough Mad Max and the humorous Sergeant Riggs, but he gives an intense performance as hamlet. He merely doesn't stick to the play's dialog, but his eyes burn with an intensity that makes me think of the depressed, cunning, and vengeful Hamlet that is in the play. Ian Holm is perfect as the Polonius that I imagined from the play, the mumbling, sneaky, and funny but wise old man that works for the deceitful and treacherous Claudius. Helena Bonham Carter is youthful and pretty as Hamlet's doomed lover Ophelia. I can't help but smile when her character goes insane for her nonsense singing reminds much of her marvelous work as Mrs. Lovett from Sweeney Todd. Paul Schofield as the ghost of Hamlet's father is not only frightening but moving as a lost and doomed soul. But the thing I liked most about this movie was that it did not retract itself from the Shakespearean language of the play. This not only held true to the play but also made the film itself accurate to the time period. In addition, the set-decoration by two-time Oscar winner Dante Ferretti and costume design by Maurizio Millenotti is beautiful. The score by Ennio Morricone (as he always does) sets the mood and pulls me into the film's story. However, like the play, the movie was slow and at times tiresome. Nonetheless, this is a great adaptation of Hamlet that should not be forgotten. 9/10

Thien Nguyen Hamlet Movie ReviewThe movie "Hamlet," released in January 18, 1991, shows director Franco Zeffirelli's selections of Shakespeare's original Hamlet and reflects one intriguing possibility of the text. There are various interpretations of each character and the story; however, no one vision can adequately encompass every perspective of the play. The text, of course, will always exist in permanent form and it is up to the individual's interpretation to make the story their own. Zeffirelli did a terrific job at directing such a complex story into a film easily understood by viewers. In most translations from books to movies, producers sacrifice certain elements to narrow the focus and make the film unique to his style. The use of film techniques, compared to the Victorian stage plays, allows different dramatic developments in the story. Thus, the movie unfolds at a different pace than stage play, creating a whole new dynamic between scene transitioning. Christopher de Vore's skill as a screenwriter accurately portrays the characters without detracting from Shakespeare's language. For example, the prologue in the beginning of the movie demonstrates the enthrallment of Hamlet Senior as a ghost. Retaining the originality to the dialogue in the text, the movie is still unique to the director's vision. Most importantly, the director's interpretation of the story works well in developing the depth of each character without creating a new twist in the story of "Hamlet." Although he cut some essential parts from the play, Zeffirelli employed his own style and created an amazing tribute to Shakespeare. He edited parts of the movie and rearranged it to create a story that would make sense to contemporary audiences. Through this, he gives in an apparent life to the play which moves well from beginning to end.Shakespeare's play is not at all about the story. The story is just the outer armor on which some life altering metaphoric structure is built around. For example, Hamlet Junior bellows, "Tis true: 'tis true 'tis pity, and pity 'tis true." From Hamlet Junior's first meeting with Hamlet Senior's ghost, he is profoundly disturbed and begins to question his mentality and judgment of reality. Ironically, he pretends to be crazy to conceal his true plans to kill his uncle Claudius. Zeffirelli has a fine sense of coloring in each scene with movement between light and dark, and good and evil. Zeffirelli focuses on the characters and allows them lead the storyline without compromising the text's originality. One complaint is that Mel Gibson seemed to be too old for the role of Hamlet, thereby making Glenn Close too young to be Gertrude. The issue of Hamlet's age has always been a problem. According to the text, he is supposed to be in his thirties; however, that makes some of his relationships with Ophelia, for instance, seem pedophiliac. Yet, if Hamlet is portrayed too young, the depth of his thought is almost impossible to imagine. I thought he was a good actor; particularly in reciting the Shakespearean lines is something I have found most important to my understanding of the story. His passion clearly portrays a son who has gone through madness over his father's death, contemplation of murdering his uncle, and the incestuous marriage of his mother. Gibson not only gives a convincing depiction of Hamlet's cloak of madness, but also shows us the desperation of the character in his quiet moments as Hamlet is not a man who could not make up his mind, but rather, one who riddled with uncertainty. Thus, Gibson spends much of the film alternating between mania-induced impulsiveness and paralyzing inability to function with sanity. Glenn Close is amazing as she portrays Gertrude as a real character, with traits both shameful and empathetic. Helena Bonham-Carter's performance is astounding as well, especially her moment of lunacy as Ophelia in reacting to the death of her father, Polonius. The cast of characters in this version of Hamlet was more than enough to bring Shakespeare's stage theater alive on screen. Overall, I believe that this is a good foundation to understanding the language of Hamlet further, and would be supplemented with the Shakespearean text. I commend Zeferelli as a master filmmaker for his directing skills. I would promote this acclaimed film to anyone who has ever marveled at Shakespearean language and would like to watch a film literature as well.