Films - Nicol Williamson and Mel Gibson, too, chap. There's the Humphrey Searle opera, too, but the Charles Marowitz cut-and-paste collage might prove especially fruitful for you.

More here. 

And

http://www.amazon.com/gp/search?ie=UTF8&keywords=Charles+Marowitz+Marowitz+Hamlet%20&tag=doollee0e-20&index=books&linkCode=ur2&camp=1789&creative=9325

Somewhere very near to the beginning of THE BROTHERS KARAMAZOV there is the story of a girl who committed suicide by throwing herself off a sharp riverbank into the water below, in imitation of Ophelia.  Dostoevsky makes the withering comment that the whole thing might have been avoided "if the location hadn't been so picturesque".

There's a famous painting of Ophelia's death by John Everett Millais, now in Tate Britain.

Purcell's solo song with basso continuo "Mad Bess of Bedlam" seems strongly influenced by Ophelia's "mad scene"...

Although it wasn't filmed and hasn't survived, one of the most controversial Hamlets was said to have been the actor/singer/songwriter Vladimir Vysotsky (1970s)...  by inventive inflection of the lines,  he managed to portray - in a "neutral" production - the idea that he (Hamlet) was the only sane one in the "mad" country of the USSR.  It was a performance which led him into some big political difficulties, but his reply was that he'd "only read the play by Shakespeare". 

There's a vaguely sentimental but endearing film directed by Branagh around the time he was doing his Hamlet, about a group of unemployed actors putting on a Hamlet in a village church at Christmas.  They're all going through various personal crises and finding the emotions in the play overwhelming.  I actually liked it better than his Hamlet (which I thought was really pompous).  It was released in the States as A Midwinter's Tale but I think it was originally called In the Bleak Midwinter.

If it's any help, Tinners, it just so happens that Shakespeare and I are the only two people who really fully understand Hamlet from the inside. If you run into any problems, just ask  .

Don Basilio's comment about Hamlet himself being horrid to everyone reminded me of John Updike's book Gertrude and Claudius.  It focuses on the older generation in the story and looks back at the sources for the story.  I found it engrossing when I read it, although it didn't stick in the mind (although that may be my fault - I've been going through a long patch of reader's block lately).

I've managed to unearth an off-air video on Hamlet, recorded March 2002, BBC 4, which may meet your requirements, tinners.

Spent the afternoon enthralled as I transferred it to DVD and have also given it the advantage of 3 separate titles for instant access:

           Title   1      Peter Brook's Hamlet.      A specially adapted screen version of his acclaimed
                           stage production.  Shot at the Theatre de Bouffes du Nord in Paris with Adrian
                           Lester reprising the title role.   Time: 2 hours & 13 mins.

           Title    2     Peter Brook on Hamlet, interviewed by Richard Eyre.    Time:  28 mins

           Title    3     Hamlet: Playing the Dane:          Time:   15 mins
                            Leading actors of theatre, TV and film describe the challenge of playing the Prince.
                            Christopher Plummer, Stacy Keach, Kevin Kline, Steven Berkoff, and Richard Briers.

The production mounted on three sides is surrounded by red walls, stressing the claustrophobic atmosphere of Elsinore, extending to a blood red carpet, but cushions are the only means of seating as the cast are primarily Indian.   Brook explains to Eyre that although his most successful production of the play was more than 50 years ago, with Paul Scofield, he wanted to move away from the notion that the play was "decidedly British, about Danes"; the central theme 'what does it mean to be human?' is for every culture across the spectrum of races.   It's only days since I was reading a Gielgud memoir and he mentions that, although forewarned, he was adamant about wanting to stage his production for troops during the war, few of whom had ever visited a theatre, but they quickly identified with the drama and listened in total silence.  On active service, they could sense the ridiculousness of life; the absurdity of life; the tragedy of life.        Pleasing, too, to identify with two key moments for Hamlet.   First, the Ghost's terrifying imposition on the Prince, 'But howsoever thou pursu'st this act, Taint not thy mind...' (Act 1, Sc v) - a tortuous mental corset? - and in Act V, Sc II, Hamlet's philosophy about 'The special providence in the fall of a sparrow', concluding with 'the readiness is all', I can still see Scofield's tranquility and acceptance of death - the kind of moment when an audience goes from being quiet to a stunned silence.    Brook also suggested that the final 'The rest is silence' could be seen as Satreian but he didn't interpret it as being bleak in the slightest.   I certainly concur that there is no such thing as a definitive production.     'Every production is a collaboration with the actors...and is for now.'

The musical score is by Toshi Tsuchitori; no fanfares and kettle drums; as scene changes are accompanied by the sitar and I assume (please advise in due course) the equivalent of a viol?    The players are welcomed with a Noh Theatre flourish, more in keeping with Akira Kurosawa, introducing contact with the Far East.   All this dovetails with ease.

I've also retrieved from the shelves, 'John Gielgud directs Richard Burton in Hamlet' (1968) Heinemann Educational Books, a most practical journal of the rehearsals for the Broadway Hamlet.   A fascinating insight and, craftily, JG having played the Prince for 20 years carefully advised Burton to avoid the showy climaxes and concentrate on the important 'stops' (less is more) during a long evening.   It's probably unlikely that they still exist but I used to withdraw theatre books from the British Drama League in Fitzroy Square.

Anyhow, I can send a DVD of the Peter Brook programmes within a day or two, if you don't already have it.