You’ve probably seen the grainy posters. A platinum-blonde man, looking moody in black and white, staring intensely into the middle distance. This is Hamlet with Laurence Olivier, the 1948 cinematic earthquake that basically reinvented how the world looks at Shakespeare. Even today, if you ask someone to picture the Melancholy Prince, they usually see Olivier.
But here is the thing. Most people think they know this movie because it’s "classic." They think it’s a dusty, faithful reproduction of a play they were forced to read in high school.
Honestly? It’s not. It’s a radical, slashed-up, Freudian noir film that made Shakespeare purists in the late 1940s absolutely lose their minds.
The 1948 Hamlet Was a Slasher Film—Literally
When Laurence Olivier decided to tackle Hamlet, he didn't just film a play. He attacked it with a pair of scissors. Shakespeare’s original text is a monster; if you perform every word, you’re looking at four-plus hours of theater.
Olivier didn’t have time for that.
He cut nearly half the lines. Gone were Rosencrantz and Guildenstern—Hamlet's college buddies—effectively erased from existence. Fortinbras? Deleted. Some of the most famous soliloquies? Left on the cutting room floor. Olivier famously called his version a "study in Hamlet," rather than a complete adaptation.
This wasn't laziness. It was a choice to turn a political thriller into a psychological horror movie.
By removing the outside world, Olivier trapped the audience inside the drafty, cavernous hallways of Elsinore. The castle feels like a prison. The camera doesn’t just sit there; it stalks the hallways. It zooms in on the back of Olivier’s head as if it’s trying to peek at his thoughts. This was "deep focus" cinematography at its peak, heavily influenced by Citizen Kane.
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That "Oedipus" Thing Nobody Wants to Talk About
You can’t discuss Hamlet with Laurence Olivier without talking about the "Oedipus Complex."
Before filming, Olivier spent a lot of time talking to Ernest Jones, a psychoanalyst and friend of Sigmund Freud. Jones had this theory that Hamlet’s "indecision" wasn't about being weak. Instead, it was because he was subconsciously in love with his mother, Gertrude, and saw his uncle Claudius as a rival for her affection.
Olivier went all in.
It’s why the "Closet Scene" between Hamlet and his mother feels so... uncomfortable. They’re basically making out. Olivier cast Eileen Herlie as Gertrude, and here is a fun bit of trivia: she was 29. Olivier, playing her son, was 40.
The age gap (or lack thereof) was a deliberate move to heighten the sexual tension. It makes the movie feel less like a royal tragedy and more like a messy family drama that needs therapy, not a sword fight.
Why Is the Hair Blonde?
Seriously, why is he blonde? People always ask.
The Danish Prince is usually depicted with dark, brooding hair. Olivier bleached his hair white-blonde for the role. Some critics at the time thought it was just vanity—that he wanted to look like a "Nordic archetype."
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Others said it was to make him stand out against the deep shadows of the black-and-white film.
In reality, it adds to the ghost-like quality of his performance. He looks like a spirit even before he dies. It’s also a bit of a middle finger to the traditionalists. Olivier was always a bit of a rebel, even when he was being the face of the British establishment.
Facts That Still Surprised Me
- The Technicolor Tiff: Olivier actually wanted to shoot in color. He had a massive falling out with the Technicolor company, so he pivoted to black and white. It was a lucky mistake. The high-contrast "noir" look is exactly why the movie still looks cool today.
- Oscar History: This was the first non-American film to win the Academy Award for Best Picture. It was a huge deal. A British actor-director coming to Hollywood and sweeping the top prizes? Unheard of in 1948.
- The Voice of the Ghost: Olivier didn't just play Hamlet. He also provided the voice for the Ghost of Hamlet’s Father. He recorded the lines and slowed them down to create a vibrating, otherworldly sound.
- The Stunt: That final jump in the duel scene? Olivier did that himself. He leaped from a high balcony onto the actor playing Claudius (Basil Sydney). It was a dangerous jump that knocked the poor guy out.
Does It Actually Hold Up?
Look, if you want a word-for-word recreation of the play, watch the 1996 Kenneth Branagh version. That one is four hours of everything.
But if you want a movie that feels like a fever dream, Hamlet with Laurence Olivier is still the king.
It’s moody. It’s weird. It’s visually stunning.
It tells us right at the start: "This is the story of a man who could not make up his mind." Olivier frames the whole thing as a psychological failure. He’s not a hero; he’s a victim of his own brain.
The "To be or not to be" scene is a perfect example. Instead of standing on a stage, Olivier sits on top of a stone tower, looking down at the crashing waves. The camera actually dives into his head as we hear the thoughts in voiceover before he starts speaking out loud. It’s brilliant filmmaking, even by 2026 standards.
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Actionable Insights for Your Next Rewatch
If you’re going to sit down and watch this, don't treat it like a school assignment. Here is how to actually enjoy it:
Watch the Camera, Not Just the Actors
Notice how the camera moves through the castle walls. It’s meant to feel like a ghost itself. The architecture of Elsinore is basically a character.
Spot the Future Stars
Keep an eye out for palace guards and minor courtiers. You’ll see a very young Christopher Lee (Saruman) and Peter Cushing (Grand Moff Tarkin). They’re basically just standing there holding spears, but it’s a fun "Where's Waldo" for film buffs.
Listen for the Music
William Walton’s score is incredible. It doesn’t just play in the background; it cues the audience on when Hamlet is losing his grip.
Compare the Duel
The final sword fight is surprisingly fast and violent for a 1940s film. Olivier was a legendary stage fighter, and he didn't pull any punches here.
This movie didn't just win Oscars; it changed the DNA of how we adapt literature. It proved that you have to "kill" the book (or play) a little bit to make a great film.
Next Steps to Deepen Your Knowledge:
- Compare Olivier's "Closet Scene" with the 1990 Mel Gibson version to see how the Oedipal interpretation evolved.
- Research Desmond Dickinson’s camera techniques, specifically how he used the first maneuverable camera dolly in England to create those long, flowing shots.
- Listen to the original 1948 radio broadcasts where Olivier defended his decision to cut Rosencrantz and Guildenstern to the British public.