Rating: 
Summary: The Best Hamlet Ever Made
Review: Made in 1986 and shown originally on Masterpiece Theatre on PBS, this is Hamlet at its finest. Kevin Kline brilliantly plays Hamlet. Set in a minimalist staging, this only helps to focus you more on the actors abilities. A definite must see for all Shakespeare lovers.
Rating: 
Summary: A fine and personal (not political) Hamlet
Review: No filmed version of "Hamlet" is entirely satisfying. The play is too rich to be reduced to a single definitive interpretation. But Kevin Kline's production of the more accessible of Shakespeare's two greatest tragedies ("King Lear" is equally great but sparer and more difficult) is one of the better versions available. Hamlet may be the most intelligent and verbally-skilled character ever written, and sometimes the wit and depth of his lines can obscure the real tragedy of his situation. Kline plays the character as deeply sad as well as intelligent. His reading of the "To be or not to be" soliloquy, for example, is masterful: we witness someone who is not just considering suicide as an intellectual puzzle, but is despairing enough to be seriously considering it. This is a human and emotional Hamlet, in contrast to Branagh's (who even in the worst straits seems almost to be enjoying himself), Gibson's (alternately frightened and enraged), Williamson (existentially disgusted), or Olivier's (weak and indecisive, and in my opinion the only indefensible choice here).Kline has some wonderful bits of "business," too: tearing the page out of the book and sticking it on Polonius's forehead, pointing to the book after Polonius hears him say "tedious old fools" as if he is merely reading, clasping Rosencrantz and Guildenstern's heads to his chest once he has decided he cannot trust them -- all very clever. (However, the scene were he dangles Ophelia like a puppet is a bit overdone.) Laertes cutting Hamlet on the hand during a break is a good choice too (Laertes should not be able to lay a glove on Hamlet without cheating). On the other hand, Kline's version of Hamlet's feigned madness seems quieter than the "antic disposition" the character claims he will "put on." The rest of the cast is not as strong, unfortunately. Josef Summer captures Polonius's egotism and foolishness, but we get no sense of the cunning that has made him a power at court. Diana Venora plays Ophelia with a little too much self-awareness and resignation for her mad scene to be believable when it arrives. Dana Ivey is a fine Gertrude, but the role is not one of the play's strengths. Worst of all, Brian Murray hardly registers as Claudius, who can be played as purely evil, as tormented by guilt, as a decadent drunkard, or even as a reluctant murderer, but here is a puffed non-entity. Most productions of "Hamlet" make cuts, and Kline's choice is to remove all the politics. An actor is listed playing Fortinbras, but I cannot remember him (though it has been a few months since I have watched this version). We neither see nor hear much about him, which robs the play of some of its power: Hamlet, Fortinbras, and Laertes are three men in the same position; their differing responses -- respectively that of the Renaissance philosopher and poet, the modern military man, and the hothead -- provide one of the most basic themes of the play. But "Hamlet" is not merely a personal or family play; it is also a play about nations, about the damage a ruler of bad character does to a country's reputation. As the gravedigger tells us, Hamlet was born the day his father slew the elder Fortinbras; Hamlet's life exactly spans the period of Denmark's ascendancy over Norway. In a sense, he is born to remedy a cosmic error. All of that is gone (as are other more minor but still missed elements such as the character of Reynaldo, and some of the comments on acting and the theatre). Fortunately, Kline rejects any facile Freudianism, such as we see in the Gibson/Zeffireli version. The staging is simple. About the most you can say of it is that neither it nor the costumes distract us from the acting. The lighting, however, is quite elegant, and the camera work intimate without causing claustrophobia. Overall and despite its flaws, Kline's "Hamlet" remains a skillful and moving effort, ennobled by the actor's sensitive and thoughtful portrayal of literature's first and greatest modern man.
Rating:
Summary: A fine and personal (not political) Hamlet
Review: No filmed version of "Hamlet" is entirely satisfying. The play is too rich to be reduced to a single definitive interpretation. But Kevin Kline's production of the more accessible of Shakespeare's two greatest tragedies ("King Lear" is equally great but sparer and more difficult) is one of the better versions available. Hamlet may be the most intelligent and verbally-skilled character ever written, and sometimes the wit and depth of his lines can obscure the real tragedy of his situation. Kline plays the character as deeply sad as well as intelligent. His reading of the "To be or not to be" soliloquy, for example, is masterful: we witness someone who is not just considering suicide as an intellectual puzzle, but is despairing enough to be seriously considering it. This is a human and emotional Hamlet, in contrast to Branagh's (who even in the worst straits seems almost to be enjoying himself), Gibson's (alternately frightened and enraged), Williamson (existentially disgusted), or Olivier's (weak and indecisive, and in my opinion the only indefensible choice here). Kline has some wonderful bits of "business," too: tearing the page out of the book and sticking it on Polonius's forehead, pointing to the book after Polonius hears him say "tedious old fools" as if he is merely reading, clasping Rosencrantz and Guildenstern's heads to his chest once he has decided he cannot trust them -- all very clever. (However, the scene were he dangles Ophelia like a puppet is a bit overdone.) Laertes cutting Hamlet on the hand during a break is a good choice too (Laertes should not be able to lay a glove on Hamlet without cheating). On the other hand, Kline's version of Hamlet's feigned madness seems quieter than the "antic disposition" the character claims he will "put on." The rest of the cast is not as strong, unfortunately. Josef Summer captures Polonius's egotism and foolishness, but we get no sense of the cunning that has made him a power at court. Diana Venora plays Ophelia with a little too much self-awareness and resignation for her mad scene to be believable when it arrives. Dana Ivey is a fine Gertrude, but the role is not one of the play's strengths. Worst of all, Brian Murray hardly registers as Claudius, who can be played as purely evil, as tormented by guilt, as a decadent drunkard, or even as a reluctant murderer, but here is a puffed non-entity. Most productions of "Hamlet" make cuts, and Kline's choice is to remove all the politics. An actor is listed playing Fortinbras, but I cannot remember him (though it has been a few months since I have watched this version). We neither see nor hear much about him, which robs the play of some of its power: Hamlet, Fortinbras, and Laertes are three men in the same position; their differing responses -- respectively that of the Renaissance philosopher and poet, the modern military man, and the hothead -- provide one of the most basic themes of the play. But "Hamlet" is not merely a personal or family play; it is also a play about nations, about the damage a ruler of bad character does to a country's reputation. As the gravedigger tells us, Hamlet was born the day his father slew the elder Fortinbras; Hamlet's life exactly spans the period of Denmark's ascendancy over Norway. In a sense, he is born to remedy a cosmic error. All of that is gone (as are other more minor but still missed elements such as the character of Reynaldo, and some of the comments on acting and the theatre). Fortunately, Kline rejects any facile Freudianism, such as we see in the Gibson/Zeffireli version. The staging is simple. About the most you can say of it is that neither it nor the costumes distract us from the acting. The lighting, however, is quite elegant, and the camera work intimate without causing claustrophobia. Overall and despite its flaws, Kline's "Hamlet" remains a skillful and moving effort, ennobled by the actor's sensitive and thoughtful portrayal of literature's first and greatest modern man.
Rating:
Summary: A fine and personal (not political) Hamlet
Review: No filmed version of "Hamlet" is entirely satisfying. The play is too rich to be reduced to a single definitive interpretation. But Kevin Kline's production of the more accessible of Shakespeare's two greatest tragedies ("King Lear" is equally great but sparer and more difficult) is one of the better versions available. Hamlet may be the most intelligent and verbally-skilled character ever written, and sometimes the wit and depth of his lines can obscure the real tragedy of his situation. Kline plays the character as deeply sad as well as intelligent. His reading of the "To be or not to be" soliloquy, for example, is masterful: we witness someone who is not just considering suicide as an intellectual puzzle, but is despairing enough to be seriously considering it. This is a human and emotional Hamlet, in contrast to Branagh's (who even in the worst straits seems almost to be enjoying himself), Gibson's (alternately frightened and enraged), Williamson (existentially disgusted), or Olivier's (weak and indecisive, and in my opinion the only indefensible choice here). Kline has some wonderful bits of "business," too: tearing the page out of the book and sticking it on Polonius's forehead, pointing to the book after Polonius hears him say "tedious old fools" as if he is merely reading, clasping Rosencrantz and Guildenstern's heads to his chest once he has decided he cannot trust them -- all very clever. (However, the scene were he dangles Ophelia like a puppet is a bit overdone.) Laertes cutting Hamlet on the hand during a break is a good choice too (Laertes should not be able to lay a glove on Hamlet without cheating). On the other hand, Kline's version of Hamlet's feigned madness seems quieter than the "antic disposition" the character claims he will "put on." The rest of the cast is not as strong, unfortunately. Josef Summer captures Polonius's egotism and foolishness, but we get no sense of the cunning that has made him a power at court. Diana Venora plays Ophelia with a little too much self-awareness and resignation for her mad scene to be believable when it arrives. Dana Ivey is a fine Gertrude, but the role is not one of the play's strengths. Worst of all, Brian Murray hardly registers as Claudius, who can be played as purely evil, as tormented by guilt, as a decadent drunkard, or even as a reluctant murderer, but here is a puffed non-entity. Most productions of "Hamlet" make cuts, and Kline's choice is to remove all the politics. An actor is listed playing Fortinbras, but I cannot remember him (though it has been a few months since I have watched this version). We neither see nor hear much about him, which robs the play of some of its power: Hamlet, Fortinbras, and Laertes are three men in the same position; their differing responses -- respectively that of the Renaissance philosopher and poet, the modern military man, and the hothead -- provide one of the most basic themes of the play. But "Hamlet" is not merely a personal or family play; it is also a play about nations, about the damage a ruler of bad character does to a country's reputation. As the gravedigger tells us, Hamlet was born the day his father slew the elder Fortinbras; Hamlet's life exactly spans the period of Denmark's ascendancy over Norway. In a sense, he is born to remedy a cosmic error. All of that is gone (as are other more minor but still missed elements such as the character of Reynaldo, and some of the comments on acting and the theatre). Fortunately, Kline rejects any facile Freudianism, such as we see in the Gibson/Zeffireli version. The staging is simple. About the most you can say of it is that neither it nor the costumes distract us from the acting. The lighting, however, is quite elegant, and the camera work intimate without causing claustrophobia. Overall and despite its flaws, Kline's "Hamlet" remains a skillful and moving effort, ennobled by the actor's sensitive and thoughtful portrayal of literature's first and greatest modern man.
Rating:
Summary: Kline is fantastic!
Review: This film is truly educational to watch for any student or aspiring actor. While I don't consider Kline's HAMLET the greatest ever, there is certainly something to be learned from his use of verse. An excellent speaker and player of language, Kline explores the full range that Shakespeare's text has to offer. Sadly, however, I found his performance almost startlingly melodramatic and gratuitous. Interesting to see how far he has come as an actor since filming this. While the supporting cast is quite strong and enjoyable to watch, I found Kline taking far too many opportunities to explore the pleasure he derives from hearing his own voice than approaching any semblance of honesty in his portrayal of this, one of Shakespeare's most difficult roles. I think that it is quite difficult to film Shakespeare in the first place and this film utilizes an approach that is half stage and half film. Not necessarily and effective technique, in that in trying to accomplish both, we miss out on a lot of the momentum of the work itself.
Rating: 
Summary: Kevin Kline's Hamlet
Review: This film is truly educational to watch for any student or aspiring actor. While I don't consider Kline's HAMLET the greatest ever, there is certainly something to be learned from his use of verse. An excellent speaker and player of language, Kline explores the full range that Shakespeare's text has to offer. Sadly, however, I found his performance almost startlingly melodramatic and gratuitous. Interesting to see how far he has come as an actor since filming this. While the supporting cast is quite strong and enjoyable to watch, I found Kline taking far too many opportunities to explore the pleasure he derives from hearing his own voice than approaching any semblance of honesty in his portrayal of this, one of Shakespeare's most difficult roles. I think that it is quite difficult to film Shakespeare in the first place and this film utilizes an approach that is half stage and half film. Not necessarily and effective technique, in that in trying to accomplish both, we miss out on a lot of the momentum of the work itself.
Rating:
Summary: Superb drama-Kline is the very soul of Hamlet!
Review: Though I'm one who often perceives other reviews at this site to be injudiciously overated, I give 5 stars to this version of Shakespeare's most famous play without hesitation or reserve. Kevin Kline's direction is inpired by the emotion and wit of the words, and his acting performance is nothing short of the finest I've ever witnessed, and I've seen many. Please yourself, be a witness to excellence, buy it!
Rating:
Summary: Kline is fantastic!
Review: What makes a Hamlet great is the performance of the person playing the title role. In this version Kevin Kline is brilliant. I taped this performance when it was on PBS years ago and I have watched it many times. It is long overdue on DVD/Video Tape. This should be shown to all students of Shakespeare as the definitive way to perform the part of Hamlet (Sorry Mr. Branagh!)
Rating:
Summary: From the Broadway theater archive
Review: William Shakespeare's Hamlet directed and starring Kevin Kline. We have seen this play many times, sometimes abridged, and many adoptions by various artists and groups, such as Sir Laurence Oliver, Richard Burton, Dame Judith Anderson, Nicol Williamson, Richard Chamberlain, Derek Jacobi, Campbell Scott, Mel Gibson, even (icky poo) Ethan Hawke. Each brings a unique plus that makes it hard to say which is best. And threatened to be played by Shelley Long in "Outrageous Fortune" That said Kevin Kline is top notch. One attribute is that this version seemingly uncut is spoken clear. Maybe because it is a stage version filmed close enough that they did not have to shout. When Kevin builds up in the close-up you forget all the trivial things like Hamlets age. And you actually feel that you are there. Prince Hamlet loses his father the king. It is unnerving to him that his mother should marry his uncle so soon that the funeral baked meat set the wedding table. Then comes the shocker. His father's ghost suggested that the uncle and wife did him in while asleep. How will hamlet handle this news and what consequence will it have on the people around him?
Rating:
Summary: Kevin Kline's ambitious Hamlet shines.
Review: William Shakespeare's HAMLET is as powerful a story as ever been told and the title role is often considered the toughest to tackle. And so, it exists in many variations. Kevin Kline directed and starred in this version that was taped for television. It is an excellent interpretation, although he does play Hamlet a little old (Quite often the case...). The cast is very good with the exception of an unfortunate Ophelia (who would later portray an unfortunate Getrude opposite Ethan Hawke's 2000 Hamlet). The costume design is of a non-descript wartime wear that alone suggests a twist in interpretation. But, the setting, lighting and dialogue conflict with that view leaving the viewer slightly off-center. With almost 45 minutes of the story excised, this is still one of the most faithful adaptions (Branagh's HAMLET used every word). This is a great document of Kline's vision but when its all said and done, I'd rather watch a filmed version then a taped version adapted from the stage. Still, it is a nice experience.
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