Though now consigned to middlebrow hell by the better critics and shunned by audiences who prefer Kenneth Branagh’s flatulent version, Olivier’s “essay in” Hamlet is still one of the best Shakespearean films. “Essay” is the appropriate word, because this is a highly eccentric take on the play: a medieval film noir with a deeply Freudian subtext (that’s sometimes more than sub!) filmed by a paranoid camera that prowls along fog-drenched walls covered in cold sweat.