text: Franco Zeffirelli's ("The Taming Of The Shrew," "Romeo And Juliet," "Jesus Of Nazareth," "Othello") third stab at transferring Shakespeare to the screen works very well, with the casting of Mel Gibson ("Mad Max," "Lethal Weapon" and pre-"The Passion Of The Christ" notoriety) in the role formerly owned by Sir Laurence Olivier (and rightly so; see my review on his "Hamlet," arguably the best interpretation of one of the Bard's timeless (and most quoted) tragedies) and redone 5 years later by Kenneth Branagh as a full-bloodied treatment, explaining its 3 hour 22 minute running time, combined with a dream cast (and a lot of little additions, which were well-chosen and expertly done by the contemporary master of William Shakespeare, Kenneth Branagh, the director of "Henry V" and "Dead Again." Joining the "Lethal Weapon" star are Glenn Close ("The Big Chill"), Paul Scofield ("A Man For All Seasons"), Alan Bates, Ian Holm, Michael Maloney (who would be cast as Roderigo opposite Kenneth Branagh and Laurence Fishburne in Oliver Parker's "Othello" (see my review of Olivier's "stage" version of the tragedy, though he only starred in it) and who Branagh would cast as Laertes in HIS 3-hour version of "Hamlet" (a proper homage to Sir Laurence Olivier and his classic version of the play; see my review on that one as well) 5 years later), Nathaniel Parker (who would be cast as Cassio in his brother's version of "Othello" 4 years later) and Helena Bonham-Carter, who would be cast in "Mary Shelley's Frankenstein" 4 years later. <br /><br />Zeffirelli intended this movie as a homage to Sir Laurence Olivier (who had died 2 years prior to this movie) and it works pretty well, for the most part. What I was slightly uncomfortable with was Zeffirelli's misplacing a lot of lines and in one scene, he gives one of Hamlet's lines to the Ghost. Also, Helena Bonham-Carter DID NOT convince me as Ophelia. She was too dull and unreal, whereas Jean Simmons (who had immortalized the role in Olivier's version) and Kate Winslet (who did an acceptable job in Kenneth Branagh's uncut, epic revisionist reworking of "Hamlet") were good in the role, with Jean Simmons being the BEST Ophelia ever, that's why she was nominated for Best Actress in 1948 (she didn't win-what a shame). Ian Holm said his lines too quickly, not slowly as I expected him to, in a scene with him, Laertes and Ophelia. But then again, I'm more used to Felix Aylmer and Richard Briers' interpretations of the role and I think that they did better jobs than Holm in their respective versions of "Hamlet" (both done by great directors, actors, text-editors, producers AND stars of all their versions of the Bard's work) as Polonius. <br /><br />The rest of the cast, however, was excellent. The scene where Hamlet confronts his mother was very well done, but Olivier and Branagh heightened the scene to better lengths to create even more emotional intensity and suspense that the scene required. <br /><br />I recommend this version just to pass the time, but it's ideal as a teaching tool for 12th-grade English teachers (I recommend showing Olivier's version first, then Branagh's and finally this version). Despite the film's "PG" rating, there was really nothing objectionable in the movie. Only what the play called for. <br /><br />The Best Versions Of "Hamlet" Are: <br /><br />#1 Sir Laurence Olivier and Kenneth Branagh. Both were so good that I can't decide which one was the best. See my reviews on these versions for more information. <br /><br />#2 Franco Zeffirelli. This one was alright. It started out alright with a scene not in the play, but should've then progressed to the actual beginning of the play, where a guard cries out "Who's there?" "Nay, answer me. Stand and unfold yourself!!" That scene scares the hell out of you because you're sitting quietly and then-bam!!, you almost jump out of your skin. In short, that scene sets the tone for the rest of the play. HUGE blunder on Zeffirelli's part to omit that scene. It also misplaced a lot of lines (and cut others that I think should've been put in), such as the line where Hamlet says to Ophelia "Get thee to a nunnery, why wouldst thou be a breeder of sinners?"; that line was supposed to have occurred in THAT scene, NOT where it was placed in the film (after the "To Be Or Not To Be" soliloquy. This version struggles between cutting out too much or too little from an excellent piece of literature. Kenneth Branagh would remedy that 5 years later with his uncut version of the tragedy, making HIS version a more fitting homage to Sir Laurence Olivier, as several of the actors (aside from him) had performed "Hamlet" on stage/or on film many times on different occasions. However, Zeffirelli's take on "Hamlet" IS faithful to the play and THAT's what I was looking for. The setup for the final act duel was the same as in Olivier and Branagh's versions, only that the denouement in Branagh's version was more violent than the denouement of the previous two faithful versions (more in line with the play; Olivier toned it down...and it worked equally well) and stuck more closely to the play, with Branagh throwing in a few harmless touches of his own...to very good effect. <br /><br />This version is Not Rated.