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Rosencrantz & Guildenstern Are Dead&()
Two minor characters from the play 'Hamlet' stumble around unaware of their scripted lives and unable to deviate from them.
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3 wins & 2 nominations.
Cast overview, first billed only:
(as Srdjan Soric)
Showing events from the point of view of two minor characters from Hamlet, men who have no control over their destiny, this film examines fate and asks if we can ever really know what's going on? Are answers as important as the questions? Will Rosencrantz and Guildenstern (or Guildenstern and Rosencrantz) manage to discover the source of Hamlet's malaise as requested by the new king? Will the mysterious players who are strolling around the castle reveal the secrets they evidently know? And whose serve is it?
Written by
Plot Keywords:
Certificate:
Parents Guide:
Release Date: 8 February 1991 (USA)
Also Known As: Eles Morreram
Filming Locations:
Gross USA: $739,104
Production Co:
Show more on
Sound Mix:
(Technicolor)
Aspect Ratio: 1.85 : 1
Did You Know?
The opening song at the beginning of the movie is 's "Seamus" (Meddle, 1971). The version included in the movie is an instrumental version. The album version has vocals. During the theatre company's performance of pseudo-Hamlet, a sound bit from Pink Floyd's "Echoes" (also from Meddle, 1971) can be heard. The sound of the rapier sword is the first note heard in "Echoes".
Throughout the movie there are scenes where day suddenly changes to night and vice versa. This is a running gag of
plays which often have &time jumps& written into the stage directions.
[first lines]
[Rosencrantz and Guildenstern are riding horses down a path - they pause]
[to Guildenstern]
Umm, uh...
[Guildenstern rides away, and Rosencrantz follows. Rosencrantz spots a gold coin on the ground]
[to horse]
Whoa - whoa, whoa.
[Gets off horse and starts flipping the coin]
Hmmm. Heads. Heads. Heads. Heads. Heads. Heads. Heads. Heads. Heads. Heads. Heads. Heads. Heads. Heads. Heads. Heads. Heads. Heads.
[Guildenstern grabs the coin, checks both sides, then tosses it back to Rosencrantz]
Connections
Referenced in &(2011)
Soundtracks
Performed by
Courtesy of EMI Records UK Ltd.
Frequently Asked Questions
User Reviews
Rosencrantz and Guildenstern, victims of circumstance...
Rosencrantz and Guildenstern Are Dead was one of my favourite films whilst growing up. The movie follows two irrelevant characters (irrelevant in that although they served a significant purpose, their characters were not developed in any depth... Rosencrantz and Guildenstern, as individuals, were relatively unimportant) through one of the most renowned stories ever told (Hamlet). It is a film about two characters that are completely unaware of the magnitude of the events taking place around them. This carries on throughout the entire film, and is also evidenced in their accidental discoveries of significant historical scientific findings (such as the steam engine or the concept of gravity). The characters stumble their way through the film, unaware of the consequences to their actions or their significance or importance.The characters spend the entire film coming to terms with their existence. Shakespeare didn't provide any detailed character development of either Rosencrantz or Guildenstern, and as such, they are left confused as to the purpose of their own existence.The film also looks at the concept of a predetermined destiny. Rosencrantz and Guildenstern's fate is already determined before the film begins. And although they play an important role in one of the greatest stories ever told, they are completely unaw they are merely victims of circumstance.I should also note that the constant banter between the two characters (specifically in their 'Game of Questions') is pure quality.
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Alastair Muir
Still flushed with the irreverence, dash and daring of youth – or past-it and staggering onwards to meet its quietus? That brain-boxy Hamlet spin-off
(which lifts a speculative curtain on the “backstage” travails of the two hapless pals of the Dane as they get embroiled in the intrigues of Elsinore and finally pay the price) has hit the big 5-0.
Tom Stoppard – who made his name with this meta-theatrical tragicomedy in 1967 (and has done really rather well for himself ever since) - was there to cheer it on last night at the Old Vic, scene of its first London triumph.
Joshua McGuire and Daniel Radcliffe in Rosencrantz and Guildenstern are Dead
Alastair Muir
the audience was stuffed to the gunnels with well-known faces. From the world of , Fiona S while celebrity muggles included Twiggy and Sir Bob Geldof. Everyone loves Sir Tom. So much so that they’d probably have laughed at this quirky-subversive theatrical footnote to Shakespeare’s masterpiece even if time had not been remotely kind to it. But the big question for a critic – up there with “To be or not to be?” - must be: are we genuflecting out of duty, or genuine pleasure?
Daniel Radcliffe in Rosencrantz and Guildenstern are Dead
Alastair Muir
It’s a hand on heart relief to report that David Leveaux’s revival argues the case for it as compellingly and persuasively as I think its author could wish. The central conceit combines inter-textual liberty-taking with philosophical glances at its protagonists’ lack of free-will (epitomised by its famous early sequence involving a tossed coin that repeatedly lands on “heads”). All the world’s a stage and most of the men and women, Stoppard notes here, merely bit-part players.
Joshua McGuire, Daniel Radcliffe and David Haid in Rosencrantz and Guildenstern are Dead
Alastair Muir
In the wrong hands, the existential angst and in-jokiness could become tedious. But Leveaux’s cast serve the high-brow antics and music-hall larks, the nods to Beckett and the hints of Beyond the Fringe brilliantly. It’s not a side-splitting evening but it tickles just as it should and there’s the added poignancy of realising that in Stoppard’s beginning lay shudders at the finality of death, “the endless time of never coming back”.
David Haid in Rosencrantz & Guildenstern are Dead
Alastair Muir
Marooned on a bare set adorned with unlovely cloud-daubed stage-flats (with swishings across of embroidered curtains) Radcliffe’s
are a delight as the discombobulated double-act, bewildered to as to their mission, bickering like a married couple, jolted in and out of affected Shakespearean mode as the court sweeps this way and that. A lightly bearded Radcliffe – with deathly pallor, startled eyes and school-boyish eagerness that will be familiar to fans – is the perfect foil to McGuire’s more ebullient sidekick, who’s all pained grins and barely suppressed panic.
The pacing is fleet, the timing slick, and memorable moments are in sufficiently plentiful supply. David Haig deserves a special mention as the Player, a scene-stealing combination of obsessive old-stager, cockney wheeler-dealer, pimp and pirate, surrounded by a hangdog, pierrot-faced entourage. In the final analysis, though, the laurels belong to Stoppard. You did it then, sir. You’ve done it again.
is playing at the Old Vic Theatre until 29 April, 2017. Book your tickets now to avoid disappointment at
or by calling 8
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