The ghost of the King of Denmark tells his son Hamlet to avenge his murder by killing the new king, Hamlet's uncle. Hamlet feigns madness, contemplates life and death, and seeks revenge. His uncle, fearing for his life, also devises plots to kill Hamlet. An historic BBC production taped on location in and around Kronborg castle in Elsinore (Denmark), in which the play is set.
It's tempting to just think of Christopher Plummer as Capt. von Trapp and little else, but a casual glance at his stage credentials illustrate that he was well chosen for his title role in this Shakespearian tragedy. This adaptation also benefits from being a British/Danish co-production so was even
... filmed in Elsinore, too. You'' probably know the stroy of the eponymous Prince who has lost his father and seen his mother "Gertrude" (June Tobin) remarried to the new king "Claudius" (Robert Shaw). Now he, and his best pal "Horatio" (a passable Michael Caine) must tread a very fine line as they try to get to the truth as guilt, madness and thoughts of revenge are never far away. Though fairly faithful to the bard's original story, this adaptation is much less method than other versions. Plummer's natural style of delivery is convincing as "Hamlet" becomes more and more convinced of his truths, but conflicted as to his solution. Alec Clunes's "Polonius" and the pairing of "Rosencrantz" (David Calderisi) and "Guildenstern" (Bill Wallis) - which doesn't always work so well on the silver screen, all work to ramp up the sense of menace and mayhem as events head to their rather tragic, if befitting, denouement. There's a powerful cameo from Roy Kinnear as the gravedigger. A comedy actor by trade but so often really effective in the role of the pivotal or fool type of ostensibly side character whose words command special attention. The star here, for me anyway, is Robert Shaw. His performance as the King is subtle and powerful, his characterisation odious yet at times he does manage to elicit just the vaguest hint of sympathy as his step-son becomes much less guarded about his accusations. It's also worth noting the efforts from Jo Maxwell Muller whose "Ophelia" is delicate and enthralling - especially in her last scenes. It is abridged, but not so that you'd would necessarily notice and certainly not really to the detriment of the story. If you've never read the play, then this might just encourage you.
