Critical Reception
The film's opening with Olivier's voiceover of his own interpretation of the play, was criticised as reductive: "This is the tragedy of a man who could not make up his mind."
Olivier excised the "political" elements of the play (entirely cutting Fortinbras, Rosencrantz and Guildenstern) in favour of an intensely psychological performance, partly to save time. Olivier himself stated that "one great whacking cut had to be made", and the cut he chose to make was the omission of Rosencrantz and Guildenstern. This was not much criticized at first, but later critics did take more notice of it, especially after shorter productions of Hamlet that did not leave out these characters were presented on television. John Gielgud took much the same approach years later by also leaving out Rosencrantz, Guildenstern, and Fortinbras out of his 1951 radio production of the play, broadcast on the program Theatre Guild on the Air. Gielgud also followed the lead of Olivier's film version by giving the final lines of the play to Horatio instead of to Fortinbras.
Olivier also played up the Oedipal overtones of the play by having Hamlet kiss his mother lovingly on the lips several times during the film. Film scholar Jack Jorgens has commented that "Hamlet's scenes with the Queen in her low-cut gowns are virtually love scenes." In contrast, Jean Simmons' Ophelia is destroyed by Hamlet's treatment of her in the nunnery scene.
According to J. Lawrence Guntner, the style of the film owes much to German Expressionism and to film noir: the cavernous sets featuring narrow winding stairwells correspond to the labyrinths of Hamlet's psyche.
Read more about this topic: Hamlet (1948 film)
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