hamlet ( 1913 film )
denmark. prince hamlet avenges his father' s murder. this film is based on the 1913 drury lane version of the play .
hamlet is a 1913 british silent drama film directed by hay plumb and starring johnston forbes - robertson, gertrude elliot and walter ringham .
the
closet scene
from cecil hepworth' s 1913 filming of william shakespeare' s
hamlet .
kenneth branagh (left) as hamlet, with julie christie as his mother, gertrude, in branagh' s 1996 film version of shakespeare' s hamlet .
the ghost scene from a silent 1913 version of shakespeare' s
hamlet
. the music may somewhat ruin the ghostly effect and this may be best viewed with the volume down .
veteran actor saurabh shukla, who plays a pivotal role in the forthcoming film' daas dev', said the film combines elements from two classics - -' devdas' and' hamlet' .
back in britain, sir johnston forbes - robertson, “the supreme hamlet of our time” as he was called, made a film version of hamlet in 1913. an actor known for his delicate gestures and beautiful speaking voice, forbes - robertson didn’t make any concessions to the cinematic medium at all. although the film was silent and shot on location, he still recited his lines as if he was centre stage at the old vic. that film was most certainly a miss, albeit a historical curiosity .
the surviving film runs fifty - five minutes and presents an admittedly elderly hamlet, but one who displays the surety of an actor who has often played the role .
mel gibson in the title role of franco zeffirelli' s 1990 version of shakespeare' s hamlet .
die filmprimadonna - germany 1913 - directed and written by: urban gad - cinematography by: karl freund, axel graatkjaer - castr: asta nielsen, paul otto, fritz weidemann, fred immler - produced by: projektions a. - g. union, berlin - premiere: december 5, 1913 - reconstruction 2007: nederlands filmmuseum - music: trio new amsterdam
marathi adaptation of the famous tragedy' hamlet' presented by ashtavinayak and jigisha is being appreciated by the audience .
is no exception. the legendary sarah bernhardt, who flouted gender boundaries to play the role of hamlet on the stage, appeared in an 1899 experimental short depicting hamlet' s climactic duel. the italian director mario caserini, best known for the spectacle
future learning and skills – giving everyone the opportunity to build a lifelong relationship with film .
asta nielsen, born in denmark in 1881, was the first diva of european silent film. as early as 1913, in die filmprimadonna, asta nielsen acts the role of a star fighting for increased influence on the entire production process. to realize her artistic vision she founds her own company art - film in 1920. hamlet, produced that same year, survived only in a b & w; us export version. in 2005 a coloured vintage print of the lost german original version of 1921 was discovered. the restored film had its premiere at the berlinale in 2007, with new musical accompaniment composed by michael riessler. the 2 - disc dvd set also includes documentation of the production history of hamlet, the restoration process and rare an asta nielsen home movie compilation .
by 1913, however, in one of the last film d’art releases, shylock (a version of the merchant of venice), the actors had successfully adapted their stage talents to film. in italy giovanni pastrone, whose monumental cabiria (1914) later inspired d. w. griffith’s intolerance (1916), brought the sense of grand opera spectacle to his giulio cesare (1909; julius caesar). italian audiences in 1910 saw il mercante di venezia (the merchant of venice), directed by gerolamo lo savio, and in 1913 they saw una tragedia alla corte di sicilia (“a tragedy of the court of sicily”; a version of the winter’s tale), directed by baldassare negroni .
( 1952; restored 1992). its skewed camera angles and film noir texture mirror othello’s agony .
the opening scene is in elsinore, where a ghost is seen by the sentinels keeping guard on the battlements of the castle. this is related to hamlet by his friend horatio, who describes the spirit as much resembling the late king of denmark, his deceased father, whom his uncle claudius is suspected to have murdered in order that the latter might usurp his throne. uncle claudius also married the queen, the mother of hamlet, within a month after. hamlet, moved by the narration of horatio, determines to watch for the next appearance of the ghost. it is seen again at midnight, discloses itself to hamlet as his murdered parent and relates to him the cruel circumstances of his cruel murder by the king, his uncle, and calls upon hamlet to avenge it. in order to accomplish this purpose, hamlet feigns madness, especially in his conduct towards ophelia, daughter of polonius, with whom he is enamored. hamlet engages some players who enact a scene in the presence of the king and queen which ...
prince hamlet of denmark is told by his father' s ghost that his uncle claudius has murdered him and married his widow. hamlet vows revenge and feigns madness, but this has disastrous consequences for his relationship with ophelia, while his preference for talk and thought over action leads to fatal errors .
michael almereyda’s hamlet (2000), starring ethan hawke, replaced the danish court with the denmark corporation in manhattan. elsinore is a nearby luxury hotel. hawke played a surly prince hamlet disgusted by his stepfather’s greed and his mother’s veneer of innocence. an amateur filmmaker, hamlet lives in a world of television and cinema, delivering the “to be or not to be” soliloquy in the action aisle of a video store. in one of several whimsical touches, while jetting to england hamlet discovers claudius’s orders for his execution on the hard drive of a laptop stored in the luggage bin over the sleeping rosencrantz and guildenstern .
jon finch (centre) as macbeth in roman polanski' s 1971 film version of shakespeare' s macbeth .
kristin scott thomas as lady anne in richard loncraine' s 1995 film version of shakespeare' s richard iii .
to mark the birth and death anniversary of english poet william shakespeare, artists of mb theatre in kolhapur staged world famous classic play hamlet in marathi language at keshavrao bhosale natyagraha on april 23 .
sir johnston forbes - robertson was considered the finest hamlet of the victorian era (by bernard shaw) and it is a privilege, 163 years after his birth, to be able to get a sense of his portrayal as it was committed to film over a hundred years ago, the year he was recognised with a knighthood .
as soon as asta nielsen had founded the company art - film, she set out on the ambitious project of ahamlet adaptation with herself in the leading role. with svend gade and heinz schall she engaged twodirectors she had already worked with. erwin gepard was in charge of the script in which hamlet was portrayed as a woman. the reviews were ambivalent and criticized the falsification of shakespeare butpraised the acting of asta nielsen. nevertheless the premiere of hamlet in 1921 was a success. the film became a box office hit and was subsequently released in america. at the premiere of the restored german version in 2007 a new score composed by michael riessler was performed by lisma project .
in france two loose adaptations, andré cayatte ’s les amants de vérone (1949; “the lovers of verona”) and claude chabrol ’s ophélia (1962), captured essences of romeo and juliet and hamlet .
claire danes (left) and leonardo dicaprio as the title characters in baz luhrmann' s 1996 film version of shakespeare' s romeo and juliet .
—recorded on 68 - mm film. of four excerpts shot and later exhibited at london’s palace theatre to promote the stage production, only the death scene (act v, scene 2), long thought lost, resurfaced in 1990 in an amsterdam film archive. like all silent films, the scene from
kenneth branagh (left) as henry v and emma thompson as katharine in branagh' s film version of shakespeare' s henry v (1989) .
emma thompson (left) as beatrice, with kenneth branagh as benedick, in branagh' s 1993 film version of shakespeare' s much ado about nothing .
the opening scene is in elsinore, where a ghost is seen by the sentinels keeping guard on the battlements of the castle. this is related to hamlet by his friend horatio, who describes the... see full summary »
annette bening (left) as queen elizabeth, with john wood as king edward iv in richard loncraine' s 1995 film version of shakespeare' s richard iii .
hamlet, tragedy in five acts by william shakespeare, written about 1599–1601 and published in a quarto edition in 1603 from an unauthorized text, with reference to an earlier play. the first folio version was taken from a second quarto of 1604 that was based…
, james agee praised olivier for balancing the demands of
screen, stage and literature
and praised his performance of hamlet in particular. while admitting that some viewers would likely be upset by olivier' s
liberties with the text ,
milton schulman of the
all the world’s a screen: shakespeare on film screens on bbc four on sunday. the 30th - anniversary digital restoration of ran is released on dvd & blu - ray 2 may .
( 1929), the first feature - length sound movie of shakespeare. with her sly wink to bianca during the “submission” speech to petruchio, she showed how film could subvert the shakespearean text. warner brothers’
is still longer than most other versions that followed it. in fact, the full text of the play was not used in a film until kenneth branagh' s 1996 version, which ran at four hours. while that film was generally well received, some critics felt that branagh' s version, shot in 70mm with lavish sets and an all - star cast, finally collapsed under the weight of its own spectacle .
david thompson’s all the world’s a screen: shakespeare on film, a bbc four arena documentary to be broadcast this weekend, makes the argument that laurence olivier’s wartime henry v (1944) was the first really decent shakespeare movie. “it took 50 years for his work to be turned into a truly cinematic experience, ” the documentary tells us. olivier himself was convinced that his film eclipsed everything that had come before it. he had finally found a way to make shakespeare cinematic. it helped that the film had an obvious topicality. it was a nationalistic, morale - boosting war movie which found a very receptive audience in wartime britain .
the most controversial aspect of the film has always been its extensive cuts - - about half the play' s text. not only did olivier and his scriptwriter alan dent excise characters such as fortinbras, rosencrantz and guildenstern, but they removed entire soliloquies, reduced other speeches to a bare line or two, and even shuffled the order of certain scenes; for example, the scene in which claudius and laertes plot hamlet' s death was moved to follow the scene in the graveyard. however, at nearly 160 minutes olivier' s
for instance, when he picks up the skull by the graveside, while we are given the opening lines of the speech, we are not told who yorick is, and gertrude' s relationship with claudius, hamlet and the ghost is not disclosed until halfway through the closet scene, and that only in passing .
( 1912), also rediscovered in the late 20th century. a veteran shakespearean actor and lecturer on the chautauqua circuit, frederick warde, played the film’s richard. he toured with the movie, providing appropriate recitations and commentary .
earlier shakespeare adaptations had been hamstrung by their piety. they were often very stagy. in the early days of the twentieth century, several of the great actor - managers took their chances in front of the film cameras - but with very variable results .
that distilled the essence of the story. emulating the high culture of the comédie - française, french filmmakers organized a film d’art movement that cast high - profile actors in adaptations of famous plays, a movement that was limited by its deference to the theatre .
, sets the action in pre - tokugawa japan, where the aging warlord ichimonji hidetora divides his wealth between two of his ambitious sons; the third son is banished for pointing out his father’s foolishness. the film’s formality and epic sweep serve beautifully to underline the shakespearean tragedy .
* two short extracts from this film can be downloaded from the bfi' s creative archive. note that this material is not limited to users in registered uk libraries and educational establishments: it can be accessed by anyone within the uk under the terms of the creative archive licence .
that said, although still fairly primitive - most scenes are still presented as single - shot tableaux - hamlet does at least make some use of the cinema' s grammar. the camera occasionally moves, several scenes are shot on location, the ghost is conveyed through double exposure and there' s even a brief instance of cross - cutting, as ophelia' s corpse is discovered while laertes talks to claudius .
at the end of the 19th and the start of the 20th centuries, when william shakespeare was becoming an academic institution, so to speak—a subject for serious scholarly study—a revolutionary search began in the world outside the universities for the means to present his great dramas in the new medium of film. pioneer french filmmakers had begun to produce primitive
( i. e. , brief film clips of parading soldiers and umbrella dancers), which were screened between the live acts in vaudeville houses in london and new york city. among these early films was a remarkable production of 1899 (still available) by the london studio of the british mutoscope and biograph company: a scene from shakespeare’s
if you can’t watch chimes at midnight, maybe look out for star trek vi: the undiscovered country. as that film reveals, snobbery about the bard extends even to the further reaches of the galaxy. as the klingon chancellor gorkon (david warner) insists, “you’ve not experienced shakespeare until you have read him in the original klingon. ”
however, olivier was not content to make a mere filmed play, but rather conceived the film in overtly cinematic terms. the austere design of the castle set, the winding camerawork and the low - key, almost expressionist lighting all contribute to the image of the castle as a mental labyrinth. of particular note is desmond dickinson' s deep focus cinematography, evidently inspired by
two versions of shakespeare’s most violent play, titus andronicus, appeared in 1999 as if to affirm that apocalypse would attend the turn of the century. the first of these, directed by christopher dunne, was described by its marketers as “a savage epic of brutal revenge. ” the film is a götterdämmerung marked by beheading, amputation, and stabbing, but shakespeare’s language has been kept meticulously intact .
cast: laurence olivier (hamlet); eileen herlie (queen gertrude); basil sydney (king claudius); jean simmons (ophelia); norman wooland (horatio); felix aylmer (polonius); terence morgan (laertes); peter cushing (osric); stanley holloway (gravedigger); john laurie (francisco); esmond knight (bernardo); anthony quayle (marcellus); niall macginnis (captain); harcourt williams (player); russell thorndike (priest); patrick troughton (player king); tony tarver (player queen); john gielgud (voice of the ghost) .
the second version, titus, was offered by the theatrical director taymor, who had staged the play off - broadway in 1994. she collaborated with cinematographer luciano tovoli and others to make brilliant fellini - like images out of shakespeare’s lurid melodrama. in the film taymor’s haikulike montages blur the line between illusion and reality, making the savagery aesthetically bearable. anthony hopkins played titus, jessica lange a passionate tamora, and alan cumming the decadent and utterly villainous saturninus .
is usually regarded as shakespeare' s greatest play, both for its richness of language and its psychological and structural complexity. it is also his longest work, at over 3, 900 lines; a performance of the full text takes approximately four hours. clearly, the play presents unique challenges for adapting to film. sir laurence olivier' s 1948 version still stands out from the pack as a coherently conceived interpretation of shakespeare and as a work of cinema .
oliver parker’s othello (1995) paired a black actor, laurence fishburne, as a dynamic othello, with irène jacob as a plucky desdemona, but the film as a whole—despite branagh’s menacing iago—was disappointingly stagy. richard loncraine’s richard iii (1995) presented ian mckellen as the evil richard in a 1930s london teetering on the edge of fascism. shakespeare’s language works well with the suave cultural codes of high society before world war ii, while the whiff of decadence in the palace ballroom makes a perfect setting for the hoggish schemes of the master manipulator .
to many critics, the very greatest shakespeare screen adaptation is orson welles’ chimes at midnight, his “lament” for a merrie england of decency, chivalry and humour that may never really have existed. falstaff (played by welles himself) is the unlikely hero of the film, whose script is pulled together from five different shakespeare plays. it is not a smooth piece of filmmaking at all. like almost all of welles’ movies, it was dogged by difficulties with financiers. what it possesses, though, is a sense of innocence and nostalgia that is quite magical .
two major versions of a midsummer night’s dream, the first directed by adrian noble and the second by michael hoffman, were released in 1996 and 1999. in noble’s flawed film, the audience experiences the action through the eyes of a small boy who dreams about the play. this trope dates at least to jane howell’s bbc televised production of titus andronicus (1985), and it persists in julie taymor’s titus (1999). despite some sublime visual moments, noble’s movie is unsatisfying—neither transgressive enough in its homoerotic innuendos nor regressive enough to suit those who prefer a more innocent approach .
when all is said and done, this flourishing body of work is a singular testament to shakespeare’s universality and humanity. more than 400 years have passed since he put quill to paper, yet, centuries after he first brought them to life on the small outdoor stage near the river thames, shakespeare’s scenes, characters, and poetry continue to fuel a rich industry for film, literary, and music scholars and critics. ultimately, of course, shakespeare’s commercial value rests on his immeasurable ability, then and now, to captivate readers, music and theatre lovers, filmmakers, and moviegoers alike in his own “strong toil of grace. ” (
expressed high praise for olivier' s interpretation of the role :
laurence olivier leaves no doubt that he is one of our greatest living actors. his rich, moving voice, his expressive face, make of the tortured dane a figure of deep and sincere tragedy .
the film ultimately won four academy awards: best picture, best actor (olivier), best black and white art direction (roger furse and carmen dillon), and best black and white costume design (roger furse). it also received nominations for best supporting actress (jean simmons), best score (william walton) and best director (olivier) .
one reason roman polanski’s macbeth (1971) feels so chilling is the echoes it carries of the director’s own life. he was enraged that the press tried to draw connections between the murder of his wife sharon tate by members of charles manson’s “family” and the bloody events in shakespeare’s play. nonetheless, he did acknowledge that the film reflected what he had experienced as a child in nazi - occupied poland. “when they (the nazis) were raiding houses, you always heard those screams everywhere - on the second floor, the ground floor. it was like stereo in your apartment. you had people screaming…either they were beating someone or shooting someone or dragging someone out. i remember that. ”
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running approximately an hour (depending on projection speed), it gives a rather more extensive overview of the play than that offered by previous british shakespeare films, with most key scenes present and correct, supplemented with intertitles conveying brief two or three - line excerpts from the original text .
as with virtually all other british shakespeare silents (with the exception of percy stow' s admirably lucid the tempest of 1908), there is little context - setting or indeed much indication of who is actually speaking when the intertitles appear on screen. these are somewhat sketchy, glossing over many key themes of the play and virtually demanding at least some degree of prior familiarity from the audience .
that aside, it' s a competent production, helped by sir johnston forbes - robertson' s charismatic performance in the title role (he was pushing sixty at the time, but he looks a fair bit younger) - his facial expressions and lively body language help overcome the limitation of the lack of a soundtrack, though this is still keenly felt as there is little overall attempt at reinventing the play for the cinema .
credit to mario g for assembling this list. cloned it to try to watch em all .
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it’s not every day that you get to see bard’s plays in a native language or chekov’s characters speaking your mother tongue. however, of late, due to efforts of some theatre enthusiasts, plays written in other languages are being translated and staged regularly for the marathi audience .
shakespearean plays have been adapted deftly by many indian playwrights and distinguished theatre groups .
he is one of the rare writers who have captured the imagination of generations altogether, but veteran lyricist gulzar today said
an old man
has always lived deep inside his consciousness .
prime minister narendra modi’s tweet that “ every single village of india now has access to electricity”, has apparently not taken into account large swathes of rural areas which are still in darkeness. the government deems a village
electrified
if 10% of its households as well as public places such as schools and health centres, have power. while all revenue villages in the country have been electrified, the hamlets under them are yet to get a power connection
opposition leader ramesh chennithala and former kpcc president v m sudheeran will visit attapadi on saturday to meet the parents of madhu, the tribal youth who was lynched by a group of people on thursday .
the telangana cabinet has decided to bring out a new legislation aimed at according panchayat status to all tribal hamlets and special panchayat status to koya and gond habitations in the state. the proposed act will also ensure accountability for the sarpanch and other officials .
copyright © 2018 bennett, coleman & co. ltd. all rights reserved. for reprint rights: times syndication service
copyright © 2018 bennett, coleman & co. ltd. all rights reserved. for reprint rights: times syndication service
might well have been accompanied by some variation of live music, sound effects, phonograph records, intertitles, recitations, or supplementary lectures, as filmmakers sought to compensate for a silenced shakespeare .
professor mark thornton burnett explaining why people should not be dissuaded from watching translations of shakespeare' s works, because though he wrote exclusively in english, the stories, conflicts, and emotions are retained across cultures .
cineasts in france, the united states, italy, and germany soon began making other shakespeare movies. in 1900
francis x. bushman (romeo) and beverly bayne (juliet) in a silent version of romeo and juliet (1916), directed by francis x. bushman and john w. noble .
meanwhile, in brooklyn, new york, the vitagraph production company had moved the camera off the stage and into the city parks. brooklyn’s prospect park served as one location for
the americans, like their european counterparts, began making longer movies for the grander “palace” movie houses that were putting the old nickelodeons and penny gaffs out of business. one of the earliest feature - length movies surviving in north america is a shakespeare movie, james keane (keene) and m. b. dudley’s
leslie howard (romeo) and norma shearer (juliet) in george cukor' s romeo and juliet (1936) .
( 1944), the camera participated in the action rather than merely recording it. olivier began with the gritty “actualities” of an opening scene at the boisterous globe playhouse, moved from there to a realistic 19th - century stage set for the boar’s head inn, and then soared off into a mythical france as portrayed in the 1490 manuscript
( 1948) olivier used a probing, interrogating camera and deep - focus photography to ferret out every nook and cranny of elsinore. his brilliant performance as the title character in a filmed and subsequently televised
( 1955) identified him to millions of viewers as “that bottled spider…this poisonous bunch - back’d toad” (act i, scene 3, line 245) .
andrey popov (iago, left) and yevgeny vesnik (roderigo) in sergey yutkevich' s othello (1955) .
( 1966), based on the henriad, falstaff becomes self - referentially welles himself, a misunderstood genius. welles’s cinematic masterpiece is
orson welles (othello) and suzanne cloutier (desdemona) in welles' s othello (1952) .
olivia hussey (juliet) and leonard whiting (romeo) in franco zeffirelli' s romeo and juliet (1968) .
( 1971) displayed raw filmic energy and bravura. the voracious eye of polanski’s camera roams over the barnyard details of a 10th - century scottish castle that in its squalor mirrors the inner psyches of the macbeths. the japanese director
), a translation of the play into stylized noh drama. as washizu taketori (macbeth) rides in circles, the swirling forest mist becomes a metaphor for the intricate web of fate that drives his destiny, while the demureness of asaji (lady macbeth) masks a terrifying savagery .
laurence fishburne in the title role of othello, with kenneth branagh (right) as iago, 1995 .
the early 1990s witnessed a spate of interest in shakespeare’s comedies, not generally favoured by filmmakers. christine edzard’s as you like it (1992) displayed a gritty realism. whereas paul czinner’s 1936 version, starring olivier and elisabeth bergner, gloried in the “poetic realism” of designer lazare meerson, edzard used a daring ploy in transforming shakespeare’s forest of arden into a hobo jungle in east london .
trevor nunn followed his notable television achievements—with janet suzman in antony and cleopatra (first broadcast in 1974) and judi dench and mckellen in macbeth (first broadcast in 1979) —with a splendid twelfth night (1996). shot in cornwall, it enfolds the fragile world of illyria within the nostalgic atmosphere of a chekhovian comedy .
james legros (joe
mac
mcbeth), maura tierney (pat mcbeth), christopher walken (lieut. ernie mcduff )
royal films international (n. y .), f. a. i. production
imogen stubbs (viola), helena bonham carter (olivia), richard e. grant (sir andrew aguecheek), steven mackintosh (sebastian )
william shakespeare, english poet, dramatist, and actor, often called the english national poet and considered by many to be the greatest dramatist of all time. …
king john, chronicle play in five acts by william shakespeare, written perhaps in 1594–96 and published in the first folio of 1623 from an authorial manuscript that may have been copied and supplied with some theatrical touches. the source of the…
sir herbert beerbohm tree, one of the great figures of the english theatre, who became the most successful actor - manager of his time. his half brother, max beerbohm, received recognition as a writer and caricaturist. (see tree reading from “julius…
sarah bernhardt, the greatest french actress of the later 19th century and one of the best - known figures in the history of the stage. …
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( 1935), directed by and starring sohrab modi, who had previously written and staged his own urdu translation to great acclaim .
drinks from the poisoned cup, her act thus representing a kind of self - sacrifice for her son .
tcm celebrates the 100th anniversary of a musical legend with three nights of programming devoted to some of leonard bernstein' s... more
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you just can’t escape shakespeare on screen. an estimated 500 adaptations of his plays were made in the silent era alone. since then, there have been westerns, sci - fi pictures, b - movies, gangster films and samurai versions of the writer’s work. he has inspired several musicals, lots of comedies, teen romances, beatnik dramas and some horror films too. the real mystery is why so few of them have been any good .
all the world’s a screen includes black and white footage of olivier in military uniform, doing his bit for propaganda, giving a speech to the armed forces. he declaims his lines in exactly the same way as the soliloquies in henry v .
sir herbert tree appeared in king john in 1899, one of the very first shakespeare films. this was very definitely a miss, a determinedly eccentric endeavour, shot on london’s embankment and recreating a stage production. tree himself later admitted it was “entirely without meaning except to those who were perfectly familiar with the play and could recall the lines appropriate to the action. ” tree was later to star as macbeth for the great american director, d, w. griffith, and again struggled to make sense of the fact that no - one could hear the soliloquies .
griffith had also directed an early version of taming of the shrew (1908) boasting a very lively performance from florence lawrence, the “first movie star. ”
a record of f. r. benson' s production at shakespeare' s memorial theatre in stratford
the argument that silent versions of shakespeare were undermined because the audience couldn’t hear the verse doesn’t really stack up. akira kurosawa’s throne of blood (1957), inspired by macbeth, disregarded the verse entirely and transplanted the action to feudal japan. what kurosawa demonstrated was that there was primal intensity in shakespeare’s storytelling that had nothing to do with the soliloquies. this intensity was also evident in ran (1985), his astonishing version of king lear in which an ageing japanese warlord tries to divide up his kingdom and unleashes chaos and destruction as a result. you can draw a line from shakespeare through kurosawa to star wars. george lucas’s characters and plot - lines aren’t so different from those found in macbeth and king lear .
phil daniels as puck, peter mcenery as oberon and helen mirren as titania.
hamlet is a 1913 british silent drama film directed by hay plumb and starring johnston forbes-robertson , gertrude elliot and walter ringham . it is an adaptation of the play hamlet by william shakespeare made by the hepworth company and based on the drury lane theatre 's 1913 staging of the work . 
hamlet is a 1913 british silent drama film directed by hay plumb and starring johnston forbes-robertson, gertrude elliot and walter ringham. it is an adaptation of the play hamlet by william shakespeare made by the hepworth company and based on the drury lane theatre's 1913 staging of the work.
hamlet is a 1913 british silent drama film directed by hay plumb and starring johnston forbes-robertson, gertrude elliot and walter ringham. it is an adaptation of the play hamlet by william shakespeare made by the hepworth company and based on the drury lane theatre's 1913 staging of the work.