Hamlet

The fact that you are even thinking about watching this means that there is a high probability that you will like it, since you either like the play or like Burton or both. Any fan of Burton will delight in his performance and any lover of the play should appreciate the no-frills approach. The text is closely followed and not much is deleted. This is not really a movie, but the filming of an actual stage performance presented in front of an audience. By design the production is carried out as though it were a dress rehearsal, with minimal props and most actors appearing in street clothes.

The filming was done in "Electronovision" which appears to be an early method of filming directly from an electronic camera. Several of these cameras were used, providing scenes viewed from different angles and distances. The quality is much higher than the kinescopes of early TV (which were obtained by filming from a camera monitor) but markedly lower than black and white film of the period. Close-ups are good and actually have a quality that is reminiscent of certain contemporary independent films, but shots of the stage filmed at a distance are not as satisfactory. In any case, since Electronovision seems to have met an early death, you are not likely to see anything like this again.

Burton's Hamlet is not so melancholy, but rather angry, sardonic, and impish. He also brings a nimble athleticism to the role. The sword play is well done; it made me nervous watching it. It's hard to think of a contemporary actor who could pull this off. Hume Cronyn turns in a memorable performance as Polonius.

It is interesting to contrast this with Branagh's complete-text film which is in color and very much a movie and not the filming of a stage play. Burton's Hamlet is another example of how every production of this play is unique.

The DVD is available from Amazon.

I'm notorious for my dislike of Shakespeare. I've often said the only Shakespeare I like is 10 Things I Hate About You. When I watched Richard Burton's Hamlet, everything changed.

Burton's energy level is unbelievable. He practically bounces right out of the screen to personally tell each audience member his vision. It's incredible to watch, and incredible to know he gave that same performance every night for 137 nights on Broadway, a record. This taping of a live performance was stylistically filmed as a "rehearsal", so the sets are minimalistic, and everyone is wearing street clothes. Normally, I don't like when period pieces are modernized, but in this case, Richard Burton could have been wearing a clown costume and I still would have loved it.

Richard Burton is the first and only person in the world to make me understand Shakespearian language. I don't know how he does it. He embodies the meaning behind the confusing words and opens a whole new world for the audience. It's incredible.

If you like Shakespeare, watch it. If you like Richard Burton, watch it. And if you like the Hamlet story, regardless of how many other versions you've seen and which one you think is your favorite, watch it. It will become your new favorite. Frankly, it's the best.

Whereas it is true that this version of "Hamlet" with Richard Burton in the title role was a hit on Broadway, that's just part of the story behind the video release.

Burton had become an immensely popular actor after his scandalous marriage to Elizabeth Taylor during the rigors of filming "Cleopatra," in which he played the love-crazed Mark Anthony. After that film's long-delayed release (late 1963), the pair became "Hollywood royalty" with a world-wide following.

Developers/producers of Electronovision capitalized on their phenomenal popularity by arranging the taping of a dress rehearsal. It was released theatrically during the course of the play's Broadway run.

Electronovision was another version of closed-circuit TV; hence, the master videotape is in black-and-white.

A later try with Electronovision was the 1965 closed-circuit, theatrical release of "Harlow," which starred Carol Lynley as 1930s movie actress Jean Harlow. It barely preceded the 1965 film of the same name (Carroll Baker in title role). Although that film was forced to rush through production, it didn't finish in time to be the "first."

Critics of that period, who were not all impressed with this "new medium," really lashed out at this one, which they claimed went "against all ethics."

To my recall, that controversy ended Electronovision.

For those looking for a strictly cinematic version of "Hamlet" you should probably look elsewhere, but for a theatrical experience of the classic tale of the Melancholy Dane, you could do worse than pick up this version of the 1964 Broadway production starring Richard Burton.

Essentially a photographed performance of a stage production, this "Hamlet" was directed by John Gielgud with the concept of being a dress rehearsal (to pacify Richard Burton's dislike of wearing period costume) with actors in street clothes and bare bones set and props. The concept falls flat but Gielgud does a fine job of staging the action (the convention of showing the ghost as a massive shadow voiced by Gielgud works wonderfully well), making one wish that he'd used a more conventional look for the show. The cast is decidedly uneven, ranging from brilliant (Hume Cronyn in his Tony-winning role as Polonius) to incompetent (Alfred Drake as a rather hopeless Claudius). While Burton is hardly the definitive Hamlet, frequently resorting to vocal pyrotechnics which are ultimately meaningless, there is no doubting his intelligence or brooding charisma in the role. He may not have hit a bull's eye, but he is so far beyond such recent mediocre Hamlets as Ethan Hawke, Kenneth Branagh and Mel Gibson that his performance truly gives the viewer a splendid example of what a distinguished classical actor is capable of. His handling of the soliloquies (especially "Oh, what a rogue and peasant slave am I") are very effective indeed.

Those who quibble with the lack of close-ups or iffy cinematic qualities are missing the point of the experience: the faraway perspective makes the viewer fell like they are seated at an actual live performance at the Lunt Fontanne Theatre in 1964, and gives a much more uniquely theatrical experience than attempts to "cinemize" the play such as Branagh's vulgar and miscast film version or Olivier's celebrated bowdlerized adaptation (whose gutting of the text frequently plays like "Hamlet's Greatest Hits").

Not much thought was given to the Special Features of the DVDs: the listing of the awards won by Burton, Cronyn and Gielgud are laughably incomplete, and it seems to me that the producers missed an opportunity by not including observations by a living cast member on a second voice track (cast members William Refield and Richard L. Sterne each wrote books on the production, and it might have been rewarding to hear the remembrances of Hume Cronyn or John Cullum or Alfred Drake on this DVD).

But despite it's faults, this is a valuable little treasure for anyone with serious interest in Shakespeare's play and a unique opportunity to see a memorable theater production without leaving your living room.

This is not a film of Hamlet in the traditional sense. It was not made especially for the screen. It is a filmed version of the famed 1964 Broadway production starring the late, great Richard Burton. This version was shown for four performances only on two days in 1964 and then was supposed to be destroyed and thus lost to future generations. But Burton had a copy and thanks to this we have this film. And we should be glad because we nearly lost one of the best versions of Hamlet ever to grace any screen.

Because of the fact it was filmed during a dress rehearsal, it does not have the lavish period sets, costumes, etc. of other versions. This is in fact a far different version in that regard. This version is down with the most minimal of sets and in modern (1960's), even casual clothing. This is not the film for those of you who think Shakespere means lavish costumes and sets. This is a film that focuses on the actors and the words of Shakespere. And that is what makes this film unique. Yet this is both a pro and con of the film. The props and costumes are minimal and this serves at times to distract from the performances which is a shame, since it really the only flaw of the filmed version of the production.

But this is a film that showcases the power of Shakespere. Richard Burton is at the height of his powers in the title role. He can be depresses, charming, loving, comedic, and threatening all in the same scene and never lose his ability to completely take in you as an audience member. His rendition of the "To be or not to be" speech is awe inspiring to see and hear. He never fails to capture the character and this is nothing short of a great performance.

The rest of the cast is terrific as well. Hume Cronyn is terrific as Polonius playing a bumbling and, at times, oxymoron version of the character (for which I do believe he won a Tony Award). Alfred Drake is well suited as Claudius, though he is a bit wooden at times. Eileen Herlie is virtually perfect as Gertrude. Linda Marsh is particularly impressive as the love struck Ophelia and has great chemistry with Burton making their relationship all the more believable. Add on other great actors and an appearance by George Voskovec as the Player King and even a cameo by the play's director Sir John Gielgud as the ghost of King Hamlet to the mix as well.

Overall despite the limitations of this stage version, this is a terrific version of Hamlet. It is carried not by the usual sets and costumes but by the sheer power of actors and some of the greatest words ever to be put to page. If you are going the different versions of Hamlet, this would be a good place to start. See not only a great play, but an acting legend at the height of his powers. These are the reasons to see this version of Hamlet.