Kenneth Branagh was certainly brave for wanting to film Shakespeare's full text of Hamlet. Never filmed in its entirety before, this would make his work a landmark among the many movie versions of the play.
However, the usual cinematic opportunities for disaster - poor plot, weak characterisations, bad photography and design - could only be increased by tackling such an epic. Branagh was certainly up against it, especially in a fast-food, junk entertainment world where a film 90 minutes shorter than his four-hour Hamlet would be regarded as lengthy.
The final product is certainly not perfect. There are several technical problems - some of which cannot be easily dismissed - and some characterisations from the mammoth star cast that are quite forgettable.
But the feeling as you leave the cinema is that, despite its flaws, you have seen something essential, visceral, with a go-for-the jugular power that ensures scenes intrude into your thoughts for days afterwards.
Branagh himself is compelling as Hamlet, creating him as a naturally positive and sweet-natured fellow who feigns madness, rather than a tormented soul who is already half loony before he sees the ghost of his murdered father.
There are Branagh-phobes out there who dislike everything he does on principle, and there is no doubt that he has stumbled creatively (and sometimes fallen flat) during his film career.
But the gripers need to give him his due where he has earned it. Unlike many actors, Branagh is not out of his depth with a role such as Hamlet. He has the skill to inform and expand it, rather than letting himself drown within the complexities of the character. The result is a deft, polished performance, full of subtlety and strength. There are also moments of exquisite stillness - essential for any Hamlet.
Occasionally Branagh is a little self-aware, but the moments are fleeting, especially when considering how much of the action includes or revolves around him. One could not ask for a more affecting opening soliloquy, or a more cleverly placed "To be or not to be" - in a mirrored hall where he must face himself and his fears, and where reflections abound.
Hamlet is one of those complete plays in which so much is contained that a cast could easily exhaust itself before all the story's avenues were explored: murder, greed, love (filial, romantic, blind, selfish and platonic), folly, the supernatural, wealth and poverty, the use and misuse of power, nationalism, honour, heroism, fate...and they're the ones that comes to mind immediately.
The central cast does make a good fist of it all, however, in particular Derek Jacobi as the charming but fatally flawed Claudius, Nicholas Farrell is a passionate and devoted Horatio, and Kate Winslet is also memorable as Ophelia. The mad scene is well worth waiting for.
Julie Christie is also surprisingly effective as Gertrude, and Charlton Heston - in his small role of the Player King - proves he can really act when given the chance, providing a show-stopper with his first major speech.
The technical problems in the film are distracting, though. There are a number of scenes in which an electrical hiss is obvious - an unforgiveable sin, especially as it happens for minutes at a time, and under essential scenes like Hamlet's biggest soliloquy. The camera also loses focus from time to time, the use of music is a little heavy handed (particularly in the first half hour), and some of the effects - particularly in the all-important ghost scene - are very clumsy.
However, the passion and commitment of the actors, the timeless beauty and insight of Shakespeare's words, and the spectacular, rich costume and set designs combine to ensure that at the film's close you are very much in its favour.
Perhaps mastering the sweeping nature of 70mm was beyond Branagh, in combination with the dual role of actor-director. Perhaps he did not make the best Hamlet that could have been made. But he's given it a damn good shake, and justified his long obsession to bring the play to the screen.
The one drawback - for most people - will be the epic length, but most
of it flew happily by for this Shakespeare fan. Some scenes are certainly
removable fat, so those who can't cope with four hours of cinema should
wait until June 12, when the two-hour version will hit the screens. Personally,
though, I doubt that the shorter version could present the play's majesty
and awe-inspiring drama with quite the impact that it deserves.