Olivier, Laurence

Hamlet - Criterion Collection

In the opening scene of Hamlet (1948), Laurence Olivier's voice-over describes the play as "the tragedy of a man who couldn't make up his mind." But Olivier's screen adaptation is considerably more thoughtful and complex than this thesis would suggest. Drawing on his experience playing the prince on stage at Elsinore in 1937, the legendary thespian provides the film with the patina of greatness and shows how the constitution of the formerly cheerful prince weakens increasingly under the burden of his own thoughts and inability to accept his mother's hasty marriage to uncle Claudius (Basil Sydney). As Ophelia, Jean Simmons captures the character's early spirit better than her gradual disintegration. Purists may bemoan the loss of Fortinbras, Rosencrantz, and Guildenstern, but these choices allow Olivier to focus more squarely on Hamlet's plight. The winner of four Oscars^® (Best Picture, Actor, Art Direction, and Costumes), this is a Hamlet for the ages. The rest is silence. --Kevin Mulhall

Studio: Image Entertainment Release Date: 09/19/2000 Run time: 155 minutes

Henry V - Criterion Collection

If Kenneth Branagh's 1989 version of Shakespeare's tale of conquering greed reflects the post-Vietnam era, Laurence Olivier's version very much mirrored his time. When Olivier gave us his colorful adaptation in 1945, it was vivid, full of pageantry, and most definitely geared toward war. Pretty flags and white steeds, shining armor and theatrical emphasis figure into Olivier's attractive but decorous version, liberally adapted for a pro-war stance. He used the French as comic relief; they appeared foppish and foolish. Their presence implied no threat. If you had not read the play, you would not have to wonder who was going to win. Of course, Olivier wanted England to believe in the justness of war--his country was in the midst of one. The propaganda gets in the way only because it has been filtered through so many decades. His Henry remains, however, a handsome cinematic spectacle. Olivier's performance is gentle and elegant, his imagery rich and colorful. It was considered such a superb film he was awarded an honorary Oscar. He followed this with adaptations of Hamlet and Richard III. --Rochelle O'Gorman

Special features: audio commentary by film historian bruce eder original theatrical trailer subtitles for the deaf and hearing impaired and more. Studio: Image Entertainment Release Date: 06/22/1999 Run time: 139 minutes Rating: Nr

The Prince and the Showgirl

Destined to remain a curio in the careers of Marilyn Monroe and Laurence Olivier, The Prince and the Showgirl is a good movie that might have been great. While's she's wonderful as a saucy showgirl with a knack for foreign relations, Monroe's off-screen notoriety in 1957 made this a directorial nightmare for Olivier, who never bursts out of his stiff-collared finery as the Carpathian Prince Regent, who's smitten by Marilyn's innocent, unpolished candor. Of course, she's actually smarter than the monocled monarch, at least in her sensible handling of his stuffed-shirt diplomacy, so it's easy to forgive Terence Rattigan's script (from his play The Sleeping Prince) for favoring pomp over circumstance. The comedy percolates without bubbling over in this tale of opposites attracting, but it's a top-drawer production anyway, blessed by Jack Cardiff's gorgeous Technicolor cinematography and by the charm of costars who successfully concealed their off-screen anxieties. --Jeff Shannon

Laurence Olivier Presents

The staggering breadth of roles in Laurence Olivier Presents will reaffirm why so many consider Olivier the greatest actor of the modern era. With every part, from a fussy, controlling lover in Harold Pinter's The Collection to Tennessee William's swaggering Big Daddy in Cat on a Hot Tin Roof to a daffy Italian patriarch in Saturday, Sunday, Monday, the British thespian tackles every role with zest and skill, never letting the seemingly effortless accents overshadow the emotions. Ironically, the show that really emphasizes Olivier's talent is the one he isn't in: Hindle Wakes, a strikingly progressive and sardonically funny play from 1912, is co-directed by Olivier and stars Donald Pleasance. Pleasance is a topnotch actor, solid and subtle, but he just doesn't have the cunning intelligence and perpetual fire that burns in Olivier's eyes. These plays feature a fantastic array of actors (including Malcolm McDowell, Helen Mirren, Natalie Wood, Joan Plowright, and Alan Bates), but the one who really gives Olivier a run for his money is Joanne Woodward. Her performance as the lonely wife of a struggling Midwestern alcoholic (Olivier) in Come Back, Little Sheba is wrenchingly sad without once asking for pity. Their combined firepower, supported by a simple but assured performance by Carrie Fisher, makes this William Inge play the strongest of a substantial selection. (The one weak spot is the "bonus" film The Ebony Tower; though less stage-bound--it was adapted from a novel by John Fowles, not from a play like the others--the story is lightweight and tries to make up for it with copious nudity.) Towards the end of his career, Olivier took on a lot of mediocre movies for the money; these straightforward but effective television productions will erase all memory of the mercenary hackwork and leave Olivier's fierce, phenomenal talent glowing in your mind. --Bret Fetzer

The greatest actor of the 20th century presents five works by great 20th-century playwrights. Stars include Olivier, Natalie Wood, Robert Wagner, Maureen Stapleton, Alan Bates, Malcolm McDowell, Helen Mirren, Joanne Woodward, Carrie Fisher, Greta Scacchi, and Joan Plowright..

The Plays
Cat on a Hot Tin Roof by Tennessee Williams. A rich plantation owner and his family come to grips with their greed, envy, and self-delusion.
The Collection by Harold Pinter. What did, or did not, take place in a Leeds Hotel ruffles the lives of four habitués of fashionable London.
Hindle Wakes by Stanley Houghton. An independent young mill worker refuses to bow to convention after an indiscretion with the boss's son.
Come Back, Little Sheba by William Inge. Loss and regret bubble to the surface of a troubled marriage after a young boarder moves in.
Saturday, Sunday, Monday by Eduardo de Filippo. A monumental argument erupts, smolders, and subsides over a weekend in the life of a boisterous Italian family.

Bonus!
The Ebony Tower, the novella by John Fowles adapted by John Mortimer. A young artist studying the work of a great painter becomes intrigued by the elderly man's female companions. Contains some nudity.

Richard III - Criterion Collection

The third and final entry in Laurence Olivier's Shakespeare triptych, Richard III (1954) is an audacious portrait of a man determined to prove himself a villain. As the personification of evil impudence, Olivier portrays the Duke of Gloucester with such aplomb that he brings the audience onto his side. This is true even as Richard engineers plots to murder his brother Clarence (John Gielgud), betray his cousin Buckingham (Ralph Richardson), and seduce his niece Lady Anne (Claire Bloom). From the play's famous opening lines ("Now is the winter of our discontent"), Olivier delivers every speech with truly Machiavellian splendor, and his superb staging of the climactic battle rivals his work on Henry V. Regrettably, this would be Olivier's last Shakespeare film, as a planned adaptation of Macbeth was abandoned for financial reasons. Olivier justly received an Oscar® nomination for his performance; and believe it or not, this film was the inspiration for the original Blackadder! --Kevin Mulhall

Three Sisters

In turn-of-the-century Russia, three sisters, their family, and other town members live with hopes for the future and fond remembrances of the past.
Genre: Feature Film-Drama
Rating: NR
Release Date: 22-JUL-2003
Media Type: DVD

The Prince and the Showgirl

Destined to remain a curio in the careers of Marilyn Monroe and Laurence Olivier, The Prince and the Showgirl is a good movie that might have been great. While's she's wonderful as a saucy showgirl with a knack for foreign relations, Monroe's off-screen notoriety in 1957 made this a directorial nightmare for Olivier, who never bursts out of his stiff-collared finery as the Carpathian Prince Regent, who's smitten by Marilyn's innocent, unpolished candor. Of course, she's actually smarter than the monocled monarch, at least in her sensible handling of his stuffed-shirt diplomacy, so it's easy to forgive Terence Rattigan's script (from his play The Sleeping Prince) for favoring pomp over circumstance. The comedy percolates without bubbling over in this tale of opposites attracting, but it's a top-drawer production anyway, blessed by Jack Cardiff's gorgeous Technicolor cinematography and by the charm of costars who successfully concealed their off-screen anxieties. --Jeff Shannon