|
Hamlet (1990-M.Gibson) | 
| Director: Christien Anholt
Actors: Alan Bates, Marjorie Bell, Helena Bonham Carter, Justin Case, Glenn Close
Studio: Warner Home Video
Category: DVD
List Price: CDN$ 18.70
Buy New: CDN$ 9.68
You Save: CDN$ 9.02 (48%)
New (14) Used (1) from CDN$ 9.68
Rating:  127 reviews
Sales Rank: 733
Format: Ntsc, Subtitled, Widescreen
Languages: English (Original Language), English (Subtitled), Spanish (Subtitled), French (Subtitled)
Aspect Ratio: 1.85:1
Shipping Weight (lbs): 0.2
Dimensions (in): 7.4 x 5.6 x 0.6
MPN: WARD19033D
ISBN: 0790761610
UPC: 085391903321
EAN: 9780790761619
ASIN: B00019072G
Theatrical Release Date: January 18, 1991
Release Date: February 8, 2005
Availability: Usually ships within 1 - 2 business days
Shipping: International shipping available
Condition: Delivery from the USA in 10-14 Days via Canada Post (Max 21 Days). Brand New and Factory Sealed Product.
| |
| Similar Items:
|
| Editorial Reviews:
Amazon.com essential video
Franco Zeffirelli's stripped-down, two-hour version of Shakespeare's play stars Mel Gibson as a rather robust version of the ambivalent Danish prince. Gibson is much better in the part than many critics have admitted, his powers of clarity doing much to make this particular iHamlet/i more accessible than several other filmed versions. The supporting cast is outstanding, including Glenn Close as Gertrude, Alan Bates as Claudius, Ian Holm as Polonius, and Helena Bonham Carter as Ophelia. Zeffirelli's vigorous direction employs a lively camera style that nicely alters the viewer's preconceptions about the way iHamlet/i should look. i--Tom Keogh/i
|
| Customer Reviews: Read 122 more reviews...
 Since brevity is the soul of wit ... May 6, 2005
Themis-Athena (from somewhere between California and Germany)
12 out of 15 found this review helpful
I will be brief; though whether witty, too, as this production is ... why, I know not. brFor 'tis not a trifle thing to take a play like Shakespeare's Hamlet and cut its length brAlmost in half, without thus giving up half of its meaning. Yet, Signor brFranco Zeffirelli: even he, who aught already did for Romeo brAnd Juliet, hath made his mark again here in most splendid fashion. pThe Prince of Denmark's been portrayed by Thespian royalty near and far, brFirst among these the great Sir Laurence. Yet here now comes Mel Gibson: a most brUnusual choice, 'tis true; and better known for other roles. But although brAction star and ladies' favourite, this venture made him humble; justly so: brThe play's the thing, he says as Hamlet, and as himself, he adds: Hamlet belongs brOn stage. And he deplores that merely one of his enactments of each scene brShould be preserved on film forever, and that he never had the chance brTo delve into the role anew from night to night. - Fear not, good Sir: I think brYou did great honour to the Bard's intent; well understood unhappy Hamlet's brScorn, his rage, his doubts, his terrible paralysis, all his tormented soul. pI also do agree that although ten years older than the prince when you brTook on the part, those extra years provided further insight of the kind brThat's needed for this complex role. Hadst but maintained you this same sense of brHamlet's gravitas until the end, of my full'st praise you wouldst have been assured. brAlas, the levity that you let creep into the final duel with Laertes brIn my view ill becomes that scene, and although Hamlet on its eve hath had brA premonition of his death; hath spoke of providence and sparrows, brAnd looking at the sunset sighed, I doubt that when he meets Ophelia's brother, brHe's so far gone beyond all caring that he'd make light of their encounter. br(The rest is silence, too, would have impressed me more without the lisp.) pBut let that be. For I do join you in applauding those who brWith you hearkened the appeal of Signor Zeffirelli; and who brMost heartily deserve to share this feature's laurels. Princes of brBritish theatre: the late, great Alan Bates - usurper Claudius -brAll ruthless power, cunning, even carnal, brushing away his pangs of guilt; brYet, reck'ning he doth not escape. Paul Scofield, next, th' ill-fated ghost; brNot bearing arms, as Shakespeare wrote, but verily a perturbed spirit, brAs Hamlet calls him, in his pain. And Ian Holm as counsellor brPolonius: not ponderous, nor slow of tongue and eye but quick, and yet brSlain by the prince, in Claudius's place. They all have stood on stage a hundred times, brAnd brought to life the Bard's great plays, so well doth it behove one new, as Master GibsonbrIs, to Shakespeare's world to credit them for lessons learned; and not just for their acting. pAlso permit me, pray, to speak about the ladies in this male-dictated play: brGlenn Close's Gertrude, youthful queen, who gives the lie to Hamlet's chide brAnd his unmerciful reminder of her flesh's humbleness, and of her brAge. A bit too Freudian, perchance, her and her son's relationship br(That's an approach I've never liked). But a commanding presence, all be told. brYet, even more praiseworthy is Miss Hel'na Bonham-Carter; her brOphelia well-neigh impossible to replicate, she's *that* convincing. brNow rose in bloom, in love; now in distress, now finally in lunacy; she wails, brHer hair is tangled, clothes in rags, prophetic words she speaks disguised as brSongs and flower talk, before she drowns and thus propels this drama's end. pWhat else? Oh aye, of course: Kudos must also go to David Watkin, brIn charge of camera, and Signors Ennio Morricone and Feretti br- by first name Dante - for this film's score and the design of its production. brFaithful reporting, too, would be amiss without a word on Hamlet's foils: brHoratio, his school fellow, in Stephen Dillane's able hands, as is brLaertes in Nathaniel Parker's; and Trevor Peacock as the gravedigger, brSpot-on: a diamond in the rough. As player king, moreover, have a brLook out for Pete Postlethwaite; and unlike the movie by Olivier brThis one includes both Rosencrantz and Guildenstern - Michael Maloney and brSean Murray. Fortinbras, though, you'll search in vain in this production, too. pThe words, of course, are those of Shakespeare, though moved around a bit, but not in brWays that by and large, methinks, the Bard would take exception to. Save, that is, brGet thee to a nunnery, which doth assume a diff'rent connotation here: brA kinder, gentler Hamlet, who still contrives to show some care about Ophelia. br(But would he really? Nay, I think not.) To be or not to be not in the brCourtyard but the crypt, however, that is amazingly intense: both brThe performance and the imagery. As generally Zeffirelli brIn troth well uses film's ability to convey meaning visually, as brIn the burial of Hamlet Senior, the prince's wordless visit to brOphelia, and in the punishment of Rosencrantz and Guildenstern. pBut let me close now. Brief I would be, that was my promise - well, there goes that. brSuch is reviewing! Yet, what I wish, in faith, dear reader, thou hadst found brWithin these lines is that I recommend this film. So go and watch it - presently!
best film version i've seen (and i've seen them all!) July 16, 2004
Kate C. (Lansing, MI USA)
7 out of 7 found this review helpful
through my endeavors i've had to read Hamlet 7 times (twice my senior year of high-school). much as i don't like Shakespeare this play is part of my life.pThe Olivier version is more accurate to the stage version but the camera techiniques are over-blown and hokey (circling the swords before the duel to see which one is tipped, it made me dizzy). the Branagh version, while creative in it's set up (modernizing it to imerial Russia), and using the entire text, complete with Prince Fortinbras of Norway, is SO long and SO over-acted (especially on the part of Branagh) that i needed a nap after i saw it. and i choose not even to dignify the Ethan Hawke version it was so terrible.pThis one is my favorite, all the scenes which are cut aren't necessary for the forwarding of the plot in my humble opinion (the opening scene with the palace guards meeting the dead kingis cut yet horatio's explaination of this happening later in the movie is sufficient). Gibson chooses to play Hamlet as insane (that decision is left to the director) and as i am in the camp that Hamlet IS insane, you could also see why i favor this version. Glenn Close is EXCELLENT as Gertrude as is Helena Bonham-Carter as Ophelia.psolid performances with a great cast, what more does a 400 year old play need?
Mel has captured Hamlet's soul July 13, 2004
Michelle Owen West (Washington, DC)
4 out of 4 found this review helpful
What a masterpiece. As much as I love Braveheart, I truly think this is Mel Gibson's finest work. It throws all over attempts into shadow, including the great Lawrence Olivier and certainly Kenneth Branaugh or Ethan Hawke. So often the female characters are reduced to cardboard mock-ups of feminine ideals of the Shakespearean age. Not here! Ofelia and Gertrude have souls and minds to probe, filled with as many dark secrets as Hamlet himself. I could never say enough about the caliber of this film. Suffice it to say that it is THE Hamlet of the ages and worth a look as well as a few dollars to own it.
A great BRIEF history of The Bard's greatest Play June 21, 2004
Mark Showalter (Mt Dora, Florida United States)
2 out of 2 found this review helpful
There are two main versions that currently work the best in getting a feel for this play, Gibson's Brannaugh's. Gibson's is very much stripped down to focusing on the three main character's. It does loose a lot by this device, but it does gain considerably in that the viewer doesn't have to shift through all the sub-plots. Brannaugh's, however is far more complete I would consider it far more the best study version of the play. If you've read the play ( this is the reason I give it 5 stars ), Gibson's version is great beause you can fill in the blanks quite easily nothing is lost. The Ghost is by far better in Gibson's version ( remember, this is not a ghost in the modern sense, so it's important not to judge by appearences ), the interplay between them in their first meeting is just amazing. However, the politics of the play suffers badly, in my opinion, becuase many of the characters in the sub-plots are missing, especially Polonius' machinations....however, he certainly DIES better in Gibson's version. I personally like this version I am impressed with all the actors. If this had been the entire play, I think it would definitely have given Brannaugh's version a run for it's money, but being so stripped down, I feel the actuall story suffers greatly. As one reviewer put it, a CLIFT NOTES verion, with which I must agree.
What a show! June 9, 2004
2 out of 2 found this review helpful
While this version of Hamlet tends to skimp on the actual text, Mel Gibson puts on a great show here. The standout performance for me is Glenn Close's performance as Gertrude, Hamlet's mother. What this version of Hamlet has that I feel is lacking from some of the other film versions is the setting--the remoteness and authenticity of the castle sets the scene perfectly for the mood of the film. But STUDENTS, BE WARNED: if you're trying to skip out on reading the play for class and are planning on watching the movie instead, THIS IS NOT THE VERSION TO DO SO.
|
|
|
|
| |
