Olivier’s Hamlet is the Shakespeare film that has received the most prestigious accolades, winning the Academy Awards for Best Picture and Best Actor. However, it was poorly received by Shakespearean purists, who felt that Olivier had made too many alterations and excisions to the four-hour play by cutting nearly two hours worth of content.

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In the opening scene of Hamlet, Laurence Olivier describes the play in a voice-over as “the tragedy of a man who couldn’t make up his mind”. But Olivier’s screen adaptation is considerably more thoughtful and complex than this thesis would suggest. The contradictions and ambiguities of the title character, who prowls cavernous sets filled with vast, ancient corridors and winding staircases, emerge as if from a dream. The plethora of tracking shots–precise enough to impress Stanley Kubrick–encircle Olivier and his tightly constructed geometry of demise. Drawing on his experience playing the Prince on stage at Elsinore in 1937, the legendary thesp provides the film with the patina of greatness and shows how the constitution of the formerly cheerful Prince weakens increasingly under the burden of his own thoughts and inability to accept his mother’s o’er-hasty marriage to uncle Claudius (Basil Sydney). Indeed, if emotions could possess ghosts, Olivier’s Hamlet shows how they would manifest themselves. There is even a dollop of Freud, suggesting that Queen Gertrude (Eileen Herlie) has perhaps loved her offspring too closely–thus providing the fuel for Hamlet’s actions. As Ophelia, Jeans Simmons captures the character’s early spirit better than her gradual disintegration (Helena Bonham Carter fares better in Franco Zeffirelli’s fine 1990 remake). Purists may bemoan the loss of Fortinbras, Rosencrantz and Guildenstern, but these choices allow Olivier to focus more squarely on Hamlet’s plight. His monologues, many held in secret enclaves, glow with the dramatic markedness of a Dostoevski novel, with all of the master’s irony, allusions and witticisms in place. The winner of four Oscars (Best Picture, Actor, Art Direction, and Costumes), this is a Hamlet for the ages. The rest is silence.

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The post Laurence Olivier – Hamlet (1948) first appeared on Cinema of the World.

Director Michael Powell, actor John Laurie and assistant Sydney Streeter return to the isle of Foula, on which they made the film The Edge of the World over forty years earlier.

Michael Powell always considered The Edge of the World to be his first truly personal film, even to the extent of keeping the rights to it. However, after its initial trade screening in 1937, the film was cut by seven minutes for a general release length of 74 minutes. In 1940, when it was re-released, the film was cut by a further twelve minutes, and for decades this was the only version available.

It was partly for this reason that Powell decided to make a two-part television documentary that would be used to bookend screenings of this shorter version. The resulting 22-minute film, Return to the Edge of the World shows Powell, star John Laurie and production assistant Sydney Streeter returning to Foula and meeting the inhabitants on the island.

Both a reflection on, and an epilogue to The Edge of the World, it celebrates both the specific hardships endured in 1936 while making the film, and life on the island in general. In 1989/90 the National Film and Television Archive restored the film to its general release length of 74 minutes.

Sergio Angelini, BFI Screenonline

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The post Michael Powell – Return to the Edge of the World (1978) first appeared on Cinema of the World.