Page 15 - CinemaRecord #11R.pdf

Hamlet On The BIG Screen by Ralphe Neill

"Filmed in 65mm! Projected in 70mm!"

Those words splashed across the advertisement would have been more than enough on their own to whet my
appetite - even if the movie had consisted of nothil'}g but wide shots of grass growing. In fact, it was Kenneth
Branagh's epic, four-hour production of "Hamlet" and I could hardly wait.

As it turned out, the wait was well worthwhile and people soon learned not to ask what I thought of the film
unless they had at least half-an-hour to spare!

Kenneth Branagh, who starred in "Hamlet" as well as directing and co-producing it, wanted to make a full-text
version of Shakespeare's classic and he wanted to film it in 65mm to "celebrate the medium of the cinema
itself by creating a huge screen experience." He added that "70mm certainly gives a tremendous sweep to the
story that accentuates its epic qualities."

"Hamlet" was the first British film in more than 25 years to be shot on 65mm stock and, in a unique distribution
deal, Castle Rock Entertainment released a full-length version in 70mm and in 35mm 'scope as well as a two-
hour, 35mm 'scope version.

Here in Australia the full-length version was shown in 70mm at only two cinemas in the country for a two-week
season before the shorter, 35mm version opened everywhere else. Cities without 70mm facilities had the full-
length, 'scope version for those first two weeks.

'The Astor" cinema in Melbourne is one of only two venues in the city still capable of projecting in 70mm. It's
a friendly, independent house and survives in this day of multiplex installations partly by showing a different
program every day of the week - except, that is, when something special such as "Hamlet" comes along.

Most of the screening sessions for "Hamlet" were packed - people even flew from Perth (roughly the same as
a west to east coast trip in the US) just to see the movie.

The house-lights dimmed, there were two or three 'scope trailers, a 35mm flat trailer for the newly-restored
"The Big Sleep" and then the screen masks started moving - out past their 'scope positions until the screen
filled the proscenium. The aspect ratio was 2:1 and almost the full frame was shown.

It did not take long for Branagh's decision to film in 65mm to be justified - the images were simply awesome
with rich but not over-saturated colours, superb detail in the close-ups and a breathtaking sweep in the wide-
shots. Blenheim Palace, in Oxfordshire, UK, which was used as Elsinore, could have been designed for the
70mm screen.

Branagh resisted any temptation to abuse the format - it did not itself become the star. Instead, Branagh and
cinematographer, Alex Thomson, used the wide screen as an integral part of their dramatic design. There were
many shots that would have been impossible in another format but they were not just a gimmick. In essence,
Branagh needed those shots and 65/70mm was the only way to get them.

He also used the multi-channel sound with restraint. The effects channels were used only when they contrib-
uted to the shot - the voice of King Hamlet's ghost would be a classic example.

It need hardly be added that the multi-track, magnetic-stripe, analogue sound was stunning with none of the
upper-register harshness that so often seems to afflict the digital processes.

Interpretations of Shakespeare's works will always arouse passions, and that is no less true of Branagh's
"Hamlet" than of any other.

There has, for example, been much discussion of Branagh's decision to transpose the play from a medieval
setting to the 19th century. His argument was that the move to a time closer to ours, which allowed the use of
more-sumptuous sets and costumes, made the play more accessible to modern audiences. At the same time,
said Branagh, the 19th century setting was still far enough from our own time to make the Shakespearean
language seem plausible.

And, indeed, the Bard's words did come "trippingly on the tongue" - the magnificent, multi-national cast, with