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Rosencrantz and Guildenstern Are Dead
As a comedy by director Tom Stoppard, the content revolves around two minor characters from the play 'Hamlet' stumble around unaware of their scripted lives and unable to deviate from them.
11 October 1953, Zagreb, Croatia, Yugoslavia [now Croatia]
24 June 1961, Edinburgh, Scotland, UK
1965, Århus, Denmark
15 October 1961, London, England, UK
6 March 1940, Nice, Alpes-Maritimes, France
20 December 1965, Rijeka, Croatia
7 April 1934, Edinburgh, Scotland, UK
9 May 1954, Lendava, Slovenia, Yugoslavia
27 July 1958, Zadar, Croatia, Yugoslavia
21 March 1958, New Cross, London, England, UK
1951
2 February 1933, London, England, UK
29 October 1947, Brooklyn, New York City, New York, USA
5 March 1962, Zagreb, Croatia, Yugoslavia
13 February 1943, Brixworth, Northamptonshire, England, UK
14 May 1961, London, England, UK
August 15, 2003
Probably the best stage to screen adaptation I've ever seen. Essential.
July 29, 2002
"belongs on the stage, but for what it is, not bad"
January 21, 2003
By trying to take advantage of the medium, Stoppard loses track of what makes his work so wonderful. This belongs on the stage.
April 05, 2006
...On stage, the sprightly teleological riffs and bebop dialogue delight as ends in themselves. Here they're leaden and compromised. What happened?
July 10, 2003
Tom Stoppard's 1967 morality play has been translated into a high-spirited and well-acted film.
January 01, 2000
As a movie, this material, freely adapted by Stoppard, is boring and endless. It lies flat on the screen, hardly stirring.
May 13, 2004
Really head-twisting adaptation of the play with fine work from Oldman and Roth.
February 09, 2006
Both Oldman and Roth turn in flat and uninspiring performances.
July 03, 2008
Unfortunately, Stoppard the director does not match the invigorating brilliance of Stoppard the writer.
July 03, 2008
A disastrous adaptation of an excellent play.
January 01, 2000
Staged as they are here, the jokes and the fourth-wall gamesmanship don't seem as funny as they did on the page.
May 20, 2003
As happens at the opera, one usually laughs (if one laughs at all) not because something is funny, but because one has successfully recognized that it is supposed to be funny.
