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Most of the film maintains a muddy, stony visual palette, but its architecture is simply gorgeous. Upon recent review, what struck me most about the film were not its close-ups, but its wide shots. How many Hamlets can attest to that miraculous accomplishment? But he’s a dynamic and watchable Dane, and if his performance ultimately doesn’t add up to a comprehensive character…well, that’s hardly Gibson’s fault. At the time of its release, critics doubted whether the Lethal Weapon star would be able to handle the role’s gravitas - and, indeed, he does goof it up a lot, sometimes at seemingly inappropriate moments. In trying to recall the film, all the shots I could picture were close-ups of Gibson’s face - not a bad thing, necessarily, since the actor’s bright blue eyes and malleable smirk can be captivating. But I’m surprised by how much of my overall sense of the play comes directly from this film. Now I’m back to being impressed it’s not the best version of the play set to film, and it’s far from the most daring interpretation. By the time I sat down to start this blog, I had convinced myself that it was a second-rate production…until I watched it again. I remember being impressed by it at first, but then my attitude swiftly cooled, possibly because I got to see a few stage versions which struck me even more strongly. My impressions of this film version have vacillated over the years. I’m pretty sure I read the play before seeing it I was that sort of geek. I saw this film during its theatrical release, which would have made me 16 or 17. To start the process of cataloging productions of Hamlet, I figured I’d start with the first film version I saw: Franco Zeffirelli’s 1990 production, starring Alan Bates, Glenn Close, and Mel Gibson.