“Hamlet”
“Hamlet” (113 min, Rated PG-13 for some strong sexuality, partial nudity and thematic content) 7 out of 10
When I learned there was going to be another film version of Shakespeare’s “Hamlet,” I did some checking. There have been seven silent film versions, five major cinematic films since, numerous adaptations on TV, and countless stage productions. The five films were in 1948 (Laurence Olivier), 1964 (Richard Burton), 1969 (directed by Tony Richardson), 1990 (Mel Gibson) and 1996 (Kenneth Branagh). That last film was over 4 hours long, the only one with Shakespeare’s full text.
Now there is yet another “Hamlet” (written in 1599-1602), a newly interpreted modernized take on the Prince of Denmark taking place in present day London but featuring Shakespeare’s classically stylized iambic pentameter dialogue. To what extent this newest sensibility brings to the table is academic…there isn’t a filmgoer unfamiliar with most of these films or the key ingredients of the story…a story of grief, despair, scandal, empathy, redemption and the pursuit for moral justice. Following last year’s “Hamnet,” there’s no question “Hamlet” may still be on the minds of filmgoers.
Playing at film festivals last year, and being released at select theaters on April 10th, this newest version has Hamlet played by Riz Ahmed whose family runs a lavishly wealthy but shady Indian business, opening with Hamlet agonizing over the recent death of his father, who ran the business like a king ruling a nation. Hamlets’ dubious uncle, Claudius (Art Malik) has assumed control of the business – and has shockingly married Hamlet’s widowed mother, Gertrude (Sheeba Chaddha). As the story starts, Hamlet is visited by the ghostly image of his father who informs him that his brother, Claudius, poisoned him and that, perhaps, with Gertrude’s “blind eye” deception.
Besieged with anger, this sets into motion a series of tactical moves by Hamlet to expose Claudius as a murderer along with those who may have participated in the conspiratorial coverup…key being the family’s menacing enforcer, Polonius (Timothy Spall). Perhaps involved in these shadowy dealings is Ophelia (Morfydd Clark), whose romance with Hamlet has fallen apart – and the thought of her knowledge is unsettling. No matter how you look at it, Hamlet is surrounded by deceit and evil. His only way out is to take Claudius down and as many of his conspirators…including himself.
One of the more tragic of Shakespeare’s plays, this version runs far short of covering all bases with many characters missing in its rush-to-the-finish 113-minute version. Essentially, Ahmed is up to the task of playing the complex prince, inundated with vengeance…and you can see the bloodbath-coming-into-play early on…his only way to redeem his father’s death and regain his own dignity.
Screenwriter Michael Lesslie and director Aneil Karia have presented an honorably conceived rendering of this play complemented with fine performances. But too many shortcuts and elimination of many characters take away from the emotional strength of its crescendo-building tragic ending. However, modernizing it to present day does provide a more readily identifiable connection with Indian cultural heritage, something the filmmakers were keen on capturing. “Hamlet” is scheduled to be released at selected theaters on April 10th.
The post A Lean, Mean, Culturally Rich Take On Prince Of Denmark first appeared on Journal & Topics Media Group.
