Kenneth Branagh Movies

Perhaps the best-known Shakespeare interpreter of the late 20th century, Kenneth Branagh began his career in a golden haze of critical exultation. First a star pupil at the Royal Academy of Dramatic Arts (one of Britain's most prestigious drama schools), then a promising newcomer on the London stage, then hailed as "the next Olivier" for his 1989 screen adaptation of Henry V, Branagh could, for a long time, do no wrong. Unfortunately, a string of bad luck, catalyzed by his disastrous Mary Shelley's Frankenstein in 1994, began to tarnish the halo that had hovered above the actor/director's head. His lavish, four-hour Hamlet in 1996, however, did much to further his status as a man who knew his Bard, helping to alleviate some of the disappointments that both preceded and came after it.

Although his accent suggests otherwise, Branagh originally hails from Northern Ireland, not England. Born in Belfast December 10, 1960, to a working-class family, he was raised in the strife-ridden section of the country until he was nine. Leaving Belfast to escape its troubles, his family relocated to Reading, England, where Branagh spent the remainder of his childhood and adolescence. By turns bookish and athletic -- and assuming an English accent at school while remaining Irish at home -- Branagh became interested in acting at the age of 15, after seeing Derek Jacobi perform Hamlet (the two would later collaborate numerous times both in film and on the stage). Immersing himself in all things theatrical, Branagh was accepted at the Royal Academy of Dramatic Arts (RADA) in London when he was 18.

For Branagh, RADA formed the beginning of a brilliant career. The young actor drew repeated acclaim, particularly for his titular performance in a production of Hamlet, and won the school's coveted Bancroft Award for his work. After graduation, he went on to further success on the West End stage, where he starred opposite Rupert Everett in a 1982 production of Another Country. For his portrayal of a conflicted schoolboy, the actor won the Society of West End Theatres' Most Promising Newcomer Award. The following year, he further ascended his adopted country's theatrical ranks, securing a coveted membership in the Royal Shakespeare Company. Branagh continued to enjoy almost consistent critical appreciation during his tenure with the company, garnering particular praise for his lead performance in a production of Henry V. He became increasingly unhappy, however, with the RSC's bureaucratic organization and stuffiness and, in 1987, quit to form the Renaissance Theatre Company with his friend David Parfitt. The idea for the company came to Branagh while he was making the acclaimed Masterpiece Theatre adaptation of Fortunes of War in 1987. That production was one of many he did for television during his time with the RSC, and it was during that period that he met Emma Thompson, whom he married in 1989 and cast in almost all his films until their 1995 divorce.

Although Renaissance struggled at first -- its premiere effort, a production of Public Enemy, met with across-the-board disapproval -- it gained a reputation for quality work, and soon counted such vaunted performers as Judi Dench, Richard Briers, and Derek Jacobi among its ranks, many of whom were later cast in Branagh's directorial debut, Henry V. The 1989 film, a sober, mud-saturated affair that served as a stark contrast to Olivier's 1944 version (which was intended to boost England's national pride), brought Branagh international acclaim and recognition. He was soon being hailed by many a publication as "the next Olivier," a title which he repeatedly stated made him uncomfortable. The next Olivier or not, Branagh was nominated for Best Director and Best Actor Oscars for his work, and went on to win other honors, including British Academy and National Board of Review Best Director awards.

Riding high on this success, Branagh rather cheekily published his autobiography, Beginning, at the advanced age of 28. Although it was labeled a little premature and more than a little ego-driven, the book further played into his mystique, which was heightened in 1991 with his Hollywood debut. That year, he directed and starred opposite Thompson in Dead Again, a stylish, Hitchcock-inspired romantic thriller. The film was both a critical and commercial success, and the two were soon being labeled "the royal couple of British cinema." Branagh's next effort, the 1992 ensemble comedy Peter's Friends, was of comparatively lackluster character. Starring Branagh, Thompson, co-writer Rita Rudner, and comedians Stephen Fry and Hugh Laurie, it received some positive reviews, but was largely regarded as a disappointment. Fortunately for Branagh, he had better luck that year with the Bard, turning out a sun-soaked, giddy adaptation of Much Ado About Nothing, which found favor with audiences and critics alike. That same year, he garnered additional acclaim, directing the short film Swan Song and winning an Best Live Action Short Academy Award nomination for his work.

Things began to go badly in 1994 with Mary Shelley's Frankenstein, which Branagh both directed and cast himself as the mad doctor. Winning a dubious honor as one of the year's worst movies, Frankenstein had many doubting the director's hitherto golden touch. An adaptation of Othello the following year, in which Branagh was cast as Iago in Oliver Parker's directorial debut, received a similarly lackluster reception. Branagh's other film that year, In the Bleak Midwinter, went largely unseen, though he bounced back to a degree the following year with his all-star, uncut, 1996 adaptation of Hamlet. Clocking in at four hours and featuring a peroxided Branagh as the Danish prince, Julie Christie as Gertrude, Kate Winslet as Ophelia, Derek Jacobi as Claudius, and such actors as Robin Williams, Charlton Heston, and Jack Lemmon in other roles, it was hardcore Shakespeare for the masses. Although many potential audience members were scared off by the film's length, it won a number of positive reviews, and Branagh garnered a Best Adapted Screenplay Oscar nomination.

Unfortunately, Branagh's subsequent efforts met with either disdain or indifference. Falling into the latter category were The Proposition, The Theory of Flight, and Robert Altman's The Gingerbread Man, which cast him as, respectively, a priest, an eccentric inventor, and a philandering Southern lawyer. Woody Allen's Celebrity settled thornily into the former category, with Branagh earning almost unanimous critical scorn for his portrayal of the film's neurotic, Allen-esque protagonist. Many critics noted that he seemed to be trying to out-Allen Allen, with unfortunate results. In 1999, Branagh embraced a dastardly, camp sensibility to play the villain in the big-budget Western fantasy Wild Wild West. He did manage to win some of the only positive comments that critics had for the film. Off the screen, he was still keeping busy with Shakespeare, adapting Love's Labour's Lost into a perplexing, '30s-style musical featuring the likes of Alicia Silverstone, Matthew Lillard, and Nathan Lane. A variety of leading roles in better-received features followed in 2002, however, including Harry Potter and the Chamber of Secrets, Rabbit-Proof Fence, and the TV miniseries Shackleton.

Branagh continued his highly-respected stage career, even though his movie work contained duds like the remake of Sleuth, though he did find success on the small screen playing a detective in the series Wallander.

In 2011 Branagh enjoyed his biggest popular and critics success in quite some time, scoring a worldwide smash as the director of the Marvel Superhero movie Thor, and earned raves for his portrayal of Laurence Olivier in My Week With Marilyn, a part that garnered him Oscar, BAFTA, Golden Globe, and Screen Actors Guild nominations for Best Supporting Actor.
~ Rebecca Flint Marx, Rovi

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CNN Cold War, Episode 1: Comrades - 1917-1945: 1998

With WWII at an end, the world soon faced a new challenge widely known as the Cold War. In 24 episodes, this series chronicles this war of ideologies, from its inception in the late '40s until the dissolution of the U.S.S.R. some 40 years later. With Europe and Japan absorbed in rebuilding their cities and economies, the United States and the Soviet Union emerged as the world's superpowers and standard bearers for incompatible political philosophies. Capitalism or Communism: The line was drawn in the sand. The free world aligned itself with America, while the U.S.S.R. tightly held the reigns of its communist regime in the countries of the Soviet Bloc. This first episode looks at the irony of the postwar development in which the former comrades, united against the threat of Hitler, became sworn enemies in the fight for the minds of men. ~ Rose of Sharon Winter, Rovi

CNN Cold War, Episode 22: Star Wars - 1980-1988: 1998

With WWII at an end, the world soon faced a new challenge widely known as the Cold War. In 24 episodes, this series chronicles this war of ideologies, from its inception in the late '40s until the dissolution of the U.S.S.R. some 40 years later. With Europe and Japan absorbed in rebuilding their cities and economies, the United States and the Soviet Union emerged as the world's superpowers and standard bearers for incompatible political philosophies. Capitalism or Communism: The line was drawn in the sand. This episode examines the Star Wars program, instituted by President Ronald Reagan, which expanded the arms race into space. The program also shows how Reagan and Soviet Premier Gorbachev made history at summit talks by agreeing to limit nuclear armament. ~ Rose of Sharon Winter, Rovi

CNN Cold War, Episode 21: Spies - 1945-1990: 1998

With WWII at an end, the world soon faced a new challenge widely known as the Cold War. In 24 episodes, this series chronicles this war of ideologies, from its inception in the late '40s until the dissolution of the U.S.S.R. some 40 years later. With Europe and Japan absorbed in rebuilding their cities and economies, the United States and the Soviet Union emerged as the world's superpowers and standard bearers for incompatible political philosophies. Capitalism or Communism: The line was drawn in the sand. An integral component of Cold War tactics was the spy network. This episode looks at the cloak and dagger world of spying that has increasingly become a battle of technologies. The program shows, however, that despite technological advances, there will always be a place for human wit and ingenuity in the spying game. ~ Rose of Sharon Winter, Rovi

CNN Cold War, Episode 23: The Wall Comes Down - 1989: 1998

With WWII at an end, the world soon faced a new challenge widely known as the Cold War. In 24 episodes, this series chronicles this war of ideologies, from its inception in the late '40s until the dissolution of the U.S.S.R. some 40 years later. With Europe and Japan absorbed in rebuilding their cities and economies, the United States and the Soviet Union emerged as the world's superpowers and standard bearers for incompatible political philosophies. Capitalism or Communism: The line was drawn in the sand. This episode examines the dramatic events that occurred during the dissolution of the U.S.S.R. Soviet Premier Gorbachev's efforts at economic and political reform, which won him the Nobel Peace Prize, actually had the ironic result of breaking up his nation. The program details the freedom surges in Poland, Hungary, and East Germany during this time, culiminating in the 1989 tearing down of the Berlin Wall, the ultimate symbol of Soviet tyranny. ~ Rose of Sharon Winter, Rovi

CNN Cold War, Episode 24: Conclusions - 1989-1991: 1998

With WWII at an end, the world soon faced a new challenge widely known as the Cold War. In 24 episodes, this series chronicles this war of ideologies, from its inception in the late '40s until the dissolution of the U.S.S.R. some 40 years later. With Europe and Japan absorbed in rebuilding their cities and economies, the United States and the Soviet Union emerged as the world's superpowers and standard bearers for incompatible political philosophies. Capitalism or Communism: The line was drawn in the sand. At the end of this survey of the Cold War, which came to a surprise juncture with the breakup of the Soviet Union, the program takes a thoughtful look at what can be learned from past events and what the future might hold for the global community. ~ Rose of Sharon Winter, Rovi

CNN Cold War, Episode 2: Iron Curtain - 1945-1947: 1998

With WWII at an end, the world soon faced a new challenge widely known as the Cold War. In 24 episodes, this series chronicles this war of ideologies, from its inception in the late '40s until the dissolution of the U.S.S.R. some 40 years later. With Europe and Japan absorbed in rebuilding their cities and economies, the United States and the Soviet Union emerged as the world's superpowers and standard bearers for incompatible political philosophies. Capitalism or Communism: The line was drawn in the sand and the conflict began. This episode looks at the development of the Soviet Bloc in Eastern Europe. The Russians gained what they had lost when Hitler betrayed the German-Soviet Pact and attacked them. Winston Churchill warned the world that an "iron curtain" was dropping across Europe. Only the United States had the resources to stop the advance of Communism. ~ Rose of Sharon Winter, Rovi

CNN Cold War, Episode 3: Marshall Plan - 1947-1952: 1998

With WWII at an end, the world soon faced a new challenge widely known as the Cold War. In 24 episodes, this series chronicles this war of ideologies, from its inception in the late '40s until the dissolution of the U.S.S.R. some 40 years later. With Europe and Japan absorbed in rebuilding their cities and economies, the United States and the Soviet Union emerged as the world's superpowers and standard bearers for incompatible political philosophies. Capitalism or Communism: The line was drawn in the sand. This episode shows how the rift extended even to postwar rehabilitation. Implemented by military hero and new Secretary of State General George C. Marshall, the Marshall Plan provided a comprehensive recovery program for Europe and Japan. For ideological reasons, Stalin refused to allow the countries of the Soviet Bloc, which suffered terrible losses during the war, to participate in the Marshall Plan. ~ Rose of Sharon Winter, Rovi

CNN Cold War, Episode 4: Berlin - 1948-1949: 1998

With WWII at an end, the world soon faced a new challenge widely known as the Cold War. In 24 episodes, this series chronicles this war of ideologies, from its inception in the late '40s until the dissolution of the U.S.S.R. some 40 years later. With Europe and Japan absorbed in rebuilding their cities and economies, the United States and the Soviet Union emerged as the world's superpowers and standard bearers for incompatible political philosophies. Capitalism or Communism: The line was drawn in the sand. This episode examines events in Berlin, where ideology brought the world close to another war. At the end of WWII, Berlin was occupied by the Soviets, Americans, French, and British in four zones. When the powers of the free world moved to set up a free economy in their sectors, the Soviets instituted a blockade. Supplies were airlifted into the city by the allies. The program also show that during this time, the Soviets tested their first atomic bomb, upping the ante in the high stakes political game. ~ Rose of Sharon Winter, Rovi

CNN Cold War, Episode 5: Korea - 1949-1953: 1998

With WWII at an end, the world soon faced a new challenge widely known as the Cold War. In 24 episodes, this series chronicles this war of ideologies, from its inception in the late '40s until the dissolution of the U.S.S.R. some 40 years later. With Europe and Japan absorbed in rebuilding their cities and economies, the United States and the Soviet Union emerged as the world's superpowers and standard bearers for incompatible political philosophies. Capitalism or Communism: The line was drawn in the sand. The subject of this episode is the conflict in Korea. As the Soviet-backed communist troops from North Korea invaded the southern part of the country, America and U.N. forces repelled the attacks and forced North Korean troops back. The program also shows how the new communist regime in China joined the affray as a Soviet ally, leading to a stalemate and an uneasy truce. ~ Rose of Sharon Winter, Rovi

CNN Cold War, Episode 6: Reds - 1947-1953: 1998

With WWII at an end, the world soon faced a new challenge widely known as the Cold War. In 24 episodes, this series chronicles this war of ideologies, from its inception in the late '40s until the dissolution of the U.S.S.R. some 40 years later. With Europe and Japan absorbed in rebuilding their cities and economies, the United States and the Soviet Union emerged as the world's superpowers and standard bearers for incompatible political philosophies. Capitalism or Communism: The line was drawn in the sand. In this episode, the drama turns to the United States, where fear of Communism led to the Red-baiting of the McCarthy era. It details the loyalty oaths and investigations by the House Committee Un-American Activities. Also included in this episode is the death of Stalin in the Soviet Union. It shows how the Soviet people mourned their leader, even though he was responsible for the deaths of more than 20 million of his own people in the Communist purges. ~ Rose of Sharon Winter, Rovi

CNN Cold War, Episode 7: After Stalin - 1953-1956: 1998

With WWII at an end, the world soon faced a new challenge widely known as the Cold War. In 24 episodes, this series chronicles this war of ideologies, from its inception in the late '40s until the dissolution of the U.S.S.R. some forty years later. With Europe and Japan absorbed in rebuilding their cities and economies, the United States and the Soviet Union emerged as the world's superpowers and standard bearers for incompatible political philosophies -- Democracy or Dictatorship, Capitalism or Communism -- the line was drawn in the sand. This episode looks at the Communist regime after Stalin's death, when Nikita Krushchev rose to power and vowed to "bury the West under Communism." The program shows the resistance to Communist rule in the Eastern European nations, culminating with the Hungarian uprising in 1956. When America refused to intervene, the Soviets brutally crushed the rebellion. ~ Rose of Sharon Winter, Rovi

CNN Cold War, Episode 8: Sputnik - 1949-1961: 1998

With WWII at an end, the world soon faced a new challenge widely known as the Cold War. In 24 episodes, this series chronicles this war of ideologies, from its inception in the late '40s until the dissolution of the U.S.S.R. some 40 years later. With Europe and Japan absorbed in rebuilding their cities and economies, the United States and the Soviet Union emerged as the world's superpowers and standard bearers for incompatible political philosophies. Capitalism or Communism: The line was drawn in the sand. This episode follows the Cold War into outer space, as the Soviets shocked America and the world by first launching Sputnik, and then an astronaut, into space. President John F. Kennedy vowed that America would be first in the "New Frontier," thereby giving birth to the "Space Race." ~ Rose of Sharon Winter, Rovi

CNN Cold War, Episode 9: The Wall - 1958-1963: 1998

With WWII at an end, the world soon faced a new challenge widely known as the Cold War. In 24 episodes, this series chronicles this war of ideologies, from its inception in the late '40s until the dissolution of the U.S.S.R. some 40 years later. With Europe and Japan absorbed in rebuilding their cities and economies, the United States and the Soviet Union emerged as the world's superpowers and standard bearers for incompatible political philosophies. Capitalism or Communism: The line was drawn in the sand. This episode looks at the ultimate symbol of the Cold War -- the Berlin Wall. To keep people from fleeing the communist regime of East Berlin, the Soviets helped build the wall in Berlin. The program shows that while many people escaped over the wall, some died in the attempt. ~ Rose of Sharon Winter, Rovi

The Gingerbread Man: 1998; R; Add The Gingerbread Man to Queue Add The Gingerbread Man to top of Queue

Robert Altman directed this John Grisham tale that begins at a party where Savannah attorney Rick Magruder (Kenneth Branagh) celebrates his successful defense of a man who shot a local cop. The partygoers include his ex-wife Leeanne (Famke Janssen), the mother of his two children; his law partner Lois Harlan (Daryl Hannah); and caterer Mallory Doss (Embeth Davidtz). After Mallory finds her car stolen, Rick gives her a ride home where things turn sexual. Attracted to Mallory, he learns that her crazed father Dixon Doss (Robert Duvall) has been threatening her. Getting too closely involved with this woman he hardly knows, Rick has the police round up her unstable father, and he next subpoenas her ex-husband Pete (Tom Berenger) to testify against Dixon, who is institutionalized.

The crazed Dixon manages to escape from the asylum, intent on revenge against all his betrayers and enemies. As a potent hurricane blows into Savannah, Mallory's car is torched, and Rick receives threats. Believing his children are in danger, Rick removes them from school, prompting a warrant for his arrest. When his children disappear, Rich goes on the counterattack against Dixon. Chinese cinematographer Changwei Gu (of Chen Kaige's Farewell My Concubine and Zhang Yimou's Ju Dou) captured the soaked Savannah sites. The script is not an adaptation from a John Grisham novel; Grisham wrote it as an original screenplay just before the success of The Firm (1993), and it was acquired by producer Jeremy Tannenbaum. After Island Pictures came into the project at $1.4 million, Grisham returned for rewrites. Altman did even more drafts, so the pseudonym Al Hayes was created as the scripting credit. When Polygram suggested to Altman that the electronic score could be replaced with a traditional score, Altman had friends call reporters to say he had been dismissed. Polygram began re-editing the $25 million movie, but their edit didn't test much better than Altman's version, so they handed the reins back to Altman. ~ Bhob Stewart, Rovi

Starring:: Kenneth Branagh, Embeth Davidtz, (more)

Celebrity: 1998; R; Add Celebrity to Queue Add Celebrity to top of Queue

Black-and-white Sven Nykvist cinematography highlights this Woody Allen comedy about fame and obscurity among Manhattan celebs. Journalist Lee Simon (Kenneth Branagh), makes a play for actress Nicole Oliver (Melanie Griffith), subject of his current story. Lee is separated from his wife Robin (Judy Davis), a schoolteacher who's totally lost and insecure -- until TV producer Tony Gardella (Joe Mantegna) becomes fascinated with her. Concerned about her possible sexual inadequacies, Robin recruits a prostitute (Bebe Neuwirth) to instruct her on oral sex techniques. On the town, Lee becomes transfixed by a blond supermodel (Charlize Theron), who teases him throughout the night, eventually dropping him before they get home. Lee's relationship with book editor Bonnie (Famke Janssen) is solid, and she's due to move into his place. However, he suddenly becomes romantically involved with waitress-actress Nola (Winona Ryder), complicating his agreement with Bonnie. Lee's efforts to sell his screenplay take him to the Stanhope Hotel, where he arrives just as spoiled young movie star Brandon Darrow (Leonardo DiCaprio) is fighting with his girlfriend (Gretchen Mol), trashing his hotel room, and insulting hotel staffers. When Darrow and his entourage head off to Atlantic City, Lee tags along, but as life swirls about him, a dismal dawn awaits. In addition to the Stanhope, locations included Barbetta's Restaurant, Ziegfeld Theatre, Soho's Serge Soroko Gallery, Flamingo Club, Jean-Georges Restaurant, and the Trump Marina Hotel and Casino (donated by Donald Trump, who portrays himself in a cameo at the Jean-Georges). Shown at the 1998 Venice Film Festival, this was the opening night selection of the 1998 New York Film Festival. ~ Bhob Stewart, Rovi

Starring:: Kenneth Branagh, Judy Davis, (more)

The Theory of Flight: 1998; R

Continuing cinema's fascination with bringing the stories of handicaps and the mentally challenged to the big screen (Rain Man, My Left Foot, Shine, etc.), here comes a low-budget film about the unlikely love story of people brought together by fate, as well as 120 hours of community service. As a frustrated artist who can't build himself a flying machine, Richard (Kenneth Branagh) eventually finds himself in trouble with the law. As punishment for his eccentric behavior, he accepts community service in the company of Jane (Helena Bonham Carter), a strong-willed woman suffering from the neuromuscular disorder called ALS (otherwise known as Lou Gehrig's disease). As the two learn from each other, Jane turns to Richard with the biggest favor of all, helping her lose her virginity. What ensues is a romance/friendship that changes their lives forever. ~ Arthur Borman, Rovi

Starring:: Helena Bonham Carter, Kenneth Branagh, (more)

Universal Horror: 1998

Assembled by film historian Kevin Brownlow and narrated by actor Kenneth Branagh, this 90-minute special celebrates the classic horror films that emanated from Hollywood's Universal Studios. Beginning with such silent classics as The Phantom of the Opera and The Cat and the Canary, Universal went into full gear in the early '30s, launching such valuable properties as Dracula, Frankenstein, The Invisible Man, The Mummy, and (in the 1940s) The Wolf Man, and making stars of the "twin titans of terror," Bela Lugosi and Boris Karloff. The studio maintained its horror quota well into the 1950s with its Creature From the Black Lagoon series, but the emphasis in this special is on the pre-1948 scare fests. Highlights include interviews with surviving Universal actors and technicians (Gloria Stuart is particularly amusing), and rare clips from Dracula [Spanish-language version]. Universal Horror made its American TV debut on the Turner Classic Movies cable service. ~ Hal Erickson, Rovi

Starring:: Kenneth Branagh, Forrest J. Ackerman, (more)

The Proposition: 1998; PG13

This drama about the efforts of an upper-class couple to have a child takes place in 1935 Boston. When Father Michael McKinnon (Kenneth Branagh) arrives from England to join the St. Jude's clergy, he avoids wealthy parishioners Arthur and Eleanor Barret (William Hurt, Madeleine Stowe). Attorney Arthur, an FDR adviser, and successful author Eleanor, want a child, but Arthur is sterile. Eleanor asks Arthur to pay someone to impregnate her, and Harvard law student Roger Martin (Neil Patrick Harris) is hired. He profits considerably, since he is required to return for several attempts. However, he becomes obsessed with Eleanor, infuriating Arthur, who threatens to kill him. Emotions and events escalate, as McKinnon reveals he's the son of Arthur's Nazi-leaning brother, Eleanor loses the baby, McKinnon becomes attracted to Eleanor, and there's a mysterious' murder. Shown at the 1998 Santa Barbara Film Festival. ~ Bhob Stewart, Rovi

Starring:: Kenneth Branagh, Madeleine Stowe, (more)

Looking for Richard: 1996; PG13

A workshop of William Shakespeare's Richard III inspires actor-director Al Pacino's breezy documentary, which aims to make the playwright accessible to contemporary American audiences. Though a noteworthy cast of stage actors and Hollywood stars (including Kevin Spacey, Winona Ryder, and Alec Baldwin) gathers to work on the play, Looking for Richard does not present a straightforward filmed version of the scheming, deformed king's rise and fall. Instead, Pacino turns the cameras on the rehearsal process and his own exploration of Shakespeare's history and meaning. Scenes in full costume alternate with readings in street clothes, while interviews gather the opinions on the Bard of everyone from renowned scholars and Shakespearean actors to random New Yorkers. A trip to England allows brief visits to Shakespeare's birthplace and the Globe Theater, but Pacino's focus remains on the United States and his desire to prove that American actors can act the plays without mimicking their British counterparts. Clearly a labor of love for Pacino, the film benefits from his passionate persona and direct, no-nonsense attitude; while the performances may vary in quality, the film manifests a refreshingly casual, unpretentious, and enthusiastic approach to Shakespeare. ~ Judd Blaise, Rovi

Starring:: Al Pacino, Harris Yulin, (more)

Hamlet: 1996; PG13; Add Hamlet to Queue Add Hamlet to top of Queue

At least the 22nd time William Shakespeare's most famous tragedy has been brought to the screen, Kenneth Branagh's film adaptation of Hamlet was the first to preserve Shakespeare's entire text, uncut and unabridged. Moving the action into the 19th century, Branagh cast himself in the title role and, as in his adaptation of Much Ado About Nothing, assembled an eclectic group of actors that mixed veteran Shakespearean performers (including John Mills, Judi Dench, John Gielgud, and Derek Jacobi) with Hollywood stars not known for interpreting the Bard's work (among them Robin Williams, Charlton Heston, Billy Crystal, and Jack Lemmon). However, unlike most interpretations, it's the women who really carry the show, with the two best performances delivered by Kate Winslet as Ophelia and Julie Christie as Gertrude. As usual, Hamlet finds himself torn over what to do after the death of his father and his mother's hasty remarriage. Branagh's version of Hamlet was also notable on a technical level, as it was filmed in the 70-mm format for increased visual clarity and detail. ~ Mark Deming, Rovi

Starring:: Kenneth Branagh, Richard Attenborough, (more)

Anne Frank Remembered: 1995; PG; Add Anne Frank Remembered to Queue Add Anne Frank Remembered to top of Queue

This ground-breaking British documentary offers the most complete biographical account ever compiled of the young Jewish girl whose simple diary entries and observations brought the grim realities of the Holocaust to millions of readers the world over. It not only includes interviews from survivors who knew her, it also looks into never before seen family letters, new photographs and even archival footage. This is all combined with historically accurate recreations of the attic where the refugee Frank family spent two years hiding from the Nazis. Together it all provides a fascinating look into Anna's daily life. At the end, the filmmakers then examine Otto Frank's efforts to preserve his daughter's memory and to keep alive her message of peace. ~ Sandra Brennan, Rovi

Cinema Europe: The Other Hollywood, Part 3 - The Unchained Camera: 1995

Hollywood has long been revered as the mecca of the movie world, and many people have forgotten -- if they ever knew -- that a thriving cinema scene developed in Europe during the great silent film era. British film historians Kevin Brownlow and David Gill, who years ago made a comprehensive survey of those days in Hollywood, now remind film lovers of that fact, with this six-part look at the "other Hollywood" of Europe's silent film era. The cinematic efforts in France, Sweden, Germany, and Great Britain are showcased, using archival film footage and interviews with actors and directors, from Sir John Gielgud to Fritz Lang, Alfred Hitchcock to Simon Feldman. The documentary shows how many of the artistic devices that are standard in the industry were first developed in Europe, including the use of color and special effects, soundtracks, and the now ubiquitous chase scene. The third volume in the series, narrated by Kenneth Branaugh, considers the filmmakers of Germany, whose work paralleled the Expressionistic painting movement of the country. Their films revolutionized the industry, which now broadened to include images of fantasy, sex, nudity, and political propaganda. ~ Rose of Sharon Winter, Rovi

Cinema Europe: The Other Hollywood, Part 2 - Art's Promised Land: 1995

Hollywood has long been revered as the mecca of the movie world, and many people have forgotten -- if they ever knew -- that a thriving cinema scene developed in Europe during the great silent film era. British film historians Kevin Brownlow and David Gill, who years ago made a comprehensive survey of those days in Hollywood, now remind film lovers of that fact, with this six-part look at the "other Hollywood" of Europe's silent film era. The cinematic works of France, Sweden, Germany, and Great Britain are presented, using archival film footage and interviews with actors and directors, from Sir John Gielgud to Fritz Lang, Alfred Hitchcock to Simon Feldman. The documentary shows how many of the artistic devices that are standard in the industry were first developed in Europe, including the use of color and special effects, soundtracks, and the now ubiquitous chase scene. The second volume in the series, narrated by Kenneth Branaugh, follows the fortunes of silent film in Sweden. The works of cinema giant Ingmar Bergman owe their inspiration to lesser-known masters, including Victor Sjostrom and Maurice Stiller, whose works are showcased. The influential role of Swedish cinema in social policy is also examined. ~ Rose of Sharon Winter, Rovi

Cinema Europe: The Other Hollywood, Part 5 - Opportunity Lost: 1995

Hollywood has long been revered as the mecca of the movie world, and many people have forgotten -- if they ever knew -- that a thriving cinema scene developed in Europe during the great silent film era. British film historians Kevin Brownlow and David Gill, who years ago made a comprehensive survey of those days in Hollywood, now remind film lovers of that fact, with this six-part look at the "other Hollywood" of Europe's silent film era. The cinematic efforts in France, Sweden, Germany, and Great Britain are showcased, using archival film footage and interviews with actors and directors, from Sir John Gielgud to Fritz Lang, Alfred Hitchcock to Simon Feldman. The documentary shows how many of the artistic devices that are standard in the industry were first developed in Europe, including the use of color and special effects, soundtracks, and the now ubiquitous chase scene. The fifth volume in the series, narrated by Kenneth Branaugh, considers the achievements of British filmmakers, who excelled in making documentaries. Many of Britain's greatest film luminaries left England with the coming of the World War, and the fertile ground of British filmmaking was left fallow and withered. ~ Rose of Sharon Winter, Rovi

In the Bleak Midwinter: 1995; R

When his professional career hits a lull, an actor attempts to revitalize his career by staging a production of Hamlet, directed by and starring himself. Director and star Kenneth Branagh would in fact release his own film version of Shakespeare's classic play a year later, but this comedy provides his fictional counterpart with far less in terms of production value. Lacking money and time, he recruits a rather motley group of drunks, incompetents, and oddballs, including a middle-aged female impersonator in the crucial role of Queen Gertrude. Given only three weeks of rehearsal, and an abandoned church in a remote town in the English countryside, this unlikely group nevertheless struggles valiantly to make theatrical magic. The film attempts to pay loving tribute to the madness that surrounds the staging of a play, with all of the backstage dramas, inevitable disasters, and unexpected triumphs, but the end result is often less amusing than it ought to be. The film was released in the United States under the title A Midwinter's Tale. ~ Judd Blaise, Rovi

Starring:: Michael Maloney, Richard Briers, (more)

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