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Regarding this movie, Roger Ebert, from the Chicago Sun-Times, said that "at the end of this ``Hamlet,'' I felt at last as if I was getting a handle on the play". He accredits this to Branagh's skill in enriching the roles of characters beyond Hamlet; his ability to stage familiar scenes in new ways, his portrayal of Hamlet as an active participant in royal politics which makes "him less a subject for pity"; and his inclusion of scenes that are often left out in movie productions. One of the ways he enriches the roles of other characters is seen in his depiction of Claudius, played by Derek Jacobi. As Ebert notes, "in shorter versions, he is the scowling usurper who functions only as villain. Here, with lines and scenes restored, he seems more balanced and powerful". This rendition seems more like Shakespeare's productions would have been because the complexity of the characters is honored. Additionally, this version shows the importance of the play within the play that many other versions leave out. Here, "we listen to the actual lines of his play (which shorter versions often relegate to dumb-show at the back of the stage). We see how ingeniously and cleverly they tweak the conscience of the king, and we see Claudius' pained reactions". Branagh's gives credit to the intricacies of plot, like the play, the intricacies of character in his version of "Hamlet".

Unlike the common belief that Hamlet pretends insanity to further his plots of revenge, Paul Jorgenson's article is directed at showing how Hamlet has gropped "his way from an initial torpor and grief, through conscious anger, to a clear-sighted though troubled sanity". Jorgenson asserts that Hamlet develops deep melancholy and that his following actions stem from his attempt to regain his senses. He believes that Hamlet's transformation is an example of successful psychotherapy.

The author claims that another archetype of Hamlet is the Ovidian hero Orpheus, most obviously by both heroes' loss of their lover at the mouth of hell--literally for Orpheus, figuratively for Hamlet, whose domestic situation has become a living hell.

A discussion of the variability of how Hamlet can be played, focusing on several recent (ie 2002) productions in New York City. I figure this article could be used if one were wanting to compare and contrast ultra-modern stagings of Hamlet with others from the past.

"The role of Hamlet has been called the hoop through which every actor must jump, a rite of passage that confers a special kudos on the thespian who can master this most complex and subtle of Shakespeare's characters. From John Gielgud's lifelong association with the play, both as star and director, via David Warner's student prince to Derek Jacobi and Kenneth Branagh's involvement with television and cinematic treatments, this collection examines the challenges and rewards that some of the giants of the theatre have faced when exploring the enigma of 'Hamlet'."

Michelle Lee introduces the reader to recent critics of Hamlet and what historical influences those critics believe guided Shakespeare in his writing. Among many, she references critics who read Hamlet maintaing it is guided by the Renaissance idea of skepticism to critics who have more religious readings of the play.

Some great, specific strategies for decoding Shakespeare's language (applied to Hamlet)

This is part of a back-and-forth conversation between the author and Professor Jack about whether Nash's reference to "whole Hamlets" is a reference to an earlier play; or whether it is simply a bit of imagery used by Nash in reference to the retold stories used by the playwrights of his day.

The text of Hamlet online in a simple, accessible format.

This bibliography briefly discusses each of Shakespeare's plays. In the section on Hamlet, the article questions his reasonability. They suggest that the play within a play used to prove Claudius sin and the ghost's honesty does not adequately answer prove either side. This is because, "enough evidence remains in the play to suggest that the Ghost may yet be a "devil" intent on "abusing" the melancholic Hamlet by exhorting him to the kind of vengeance that Elizabethan Christians believed to belong only to God or to his deputed magistrates". In regards to his rationality, they suggest that if he wanted to prove the ghost's character he would have done so upon greeting the ghost. Because he does not it is "one of many indications in the text that he fails to put to proper use what he elsewhere describes as "godlike reason." A close examination of many of Hamlet's reflective speeches, including his celebrated. Additionally, in his famous speech "to be or not to be" shows us his irrationality and emotional trauma. With such a mentality, his actions could-and do-bring about tragedy that could have been avoided. As the article notes, "there is no doubt that Hamlet uncovers and 'sets right' much that is 'rotten in the state of Denmark'. The only question is whether the play invites us to consider a set of 'might have beens' that would have permitted us to approve of the protagonist even more unreservedly than we do".

An article that appears to catalougue and describe some of the textual sources Shakespeare used when writing Hamlet (and Romeo and Juliet.) The library wouldn't let me access it from an off-campus computer though!

"Vor drei Jahren bot ein Kinobesitzer dem Deutschen Filminstitut in Frankfurt am Main eine originale Kinokopie der verloren geglaubten deutschen Premierenfassung des 1920 von und mit Asta Nielsen gedrehten und auf Shakespeares Drama basierenden «Hamlet» an. (2008)"

Discusses Hamlet's moral dilemma in his quest to revenge his father.

A critical view of how film adaptations change the discourse, reflexivity and meta-theatrical aspects of Shakespeare's plays. Sarah Hatchuel discusses the use of cutting and framing in Branagh's film versions and how his choices may lead the audience; but that this process, though often problematic, can still be true to the play's discourse.

This article attempts to prove that passages from Euripedes and Aeshcylus influenced specific scenes in Hamlet.

This article is a nice follow up to the material we read in the Jordan edition of Hamlet

Those interested in connections between language, religion, and performance in Shakespeare would find this article of interest.

I particularly like this concept: "Hamlet's utilization of theatre as a medium through which to reveal truth, despite his distrust of the medium and its perpetrators, makes for an interesting connection between performance and religion"