[1948.5] Hamlet

I will be watching all 5 nominees from 1948 before I move on to the next year. The goal here is to watch them and have an internal discussion among them to try to piece together a “history” of the year. Let’s get to it. 

To Be Or Not To Be – That Is The Question

No, it’s not, Hamlet, you brooding Dane.

The real question is what did Sir Laurence Olivier do with Shakespeare’s four-centuries-old masterpiece? Some – casual viewers – saw the silkiest, leanest interpretation of the play. Others – purists – saw Olivier cutting the play into parts convenient and cried heresy. “Anyone who’s ever heard of or seen any production of Hamlet” – the completion of the pie – saw the Shakespeare by accident, or for school or for a blog post and recognized Olivier’s genius for drama, without consideration for the interpretation or for the heretics. In Hamlet, our titular character too often acts too singularly overwrought and too blatantly standoffish to show the true brood as a character of such complexity. Olivier, for luck or for skill, both wrote and acted his Hamlet perhaps as close to Shakespeare’s original fabric.

To Be Or Not To Be – That Is The Question

No, it’s not, Hamlet, you grand inquisitor.

Olivier plays Hamlet as a deft, cunning, impressionable, passionate, capable young prince, not out for revenge or justice, but rather out of sheer boredom. Never is there urgency to his actions, even with directive from his father and strange confession through a play-within-a-play. Olivier’s Hamlet seems content to allow this story to play out quite literally among the court with no true directive, self or not. He feigns madness to…throw his uncle (the new king) and his uncle’s advisor (the “cunning” Polonius, who’s a fool in disguise) convincingly enough to actually drive Ophelia (Polonius’ daughter and love…interest?) mad. For Hamlet the decision to play “mad,” is a simple and inconsequential one – why would anyone suspect the grieving son of anything? It’s not quite rational. It’s not quite full-on insanity. It’s how Olivier plays Hamlet – slightly unhinged, but not so much as to become caricature. Continue reading