From my perspective, any modern Shakespeare adaptation lives and dies by its actors’ ability to take Shakespeare’s language and make it immediately understandable and emotional for any audience. Director Aneil Karia’s Hamlet certainly does that and more, thanks to its exceptional ensemble cast, led by the great Riz Ahmed. There are some elements of its modernity which produce more questions than answers, but on the whole, it’s one of an ever-growing handful of modernist Shakespeare adaptations which absolutely hit the mark.
I assume most readers know the story of Hamlet, especially after last year’s Hamnet left such a strong impression. Here, as Hamlet (Ahmed) falls down the psychological rabbit hole of revenge for his slain father, the film gets progressively experimental, remixing iconic scenes and monologues, putting them in fresh, exciting locations with modern social stakes. Take for instance Hamlet taunting and embarrassing his once-beloved Ophelia (Morfydd Clark) before the play-within-a-play performed to taunt his now-wed uncle Claudius (Art Malik) and mother Gertrude (Sheeba Chaddha). The modern setting allows this to be as awkward and heartbreaking as possible, as Hamlet is standing and speaking into a microphone while everyone else is seated and quiet at lounge-style dinner tables. It’s as if he’s a bad stand-up comic, but only playing to a few audience members. It gives the material a naturally-updated edge which is part of the film’s escalating tension.
In terms of freshness brought to the material, another thing this Hamlet uniquely incorporates is Hindu culture in its multicultural vision of Elsinore Castle. It can get slightly confusing as to whether we’re meant to see Hamlet’s family as actual royalty or just business tycoons, but nevertheless, the intent behind the modernity is spot-on. The play-within-a-play is more of a traditional dance, and it’s beautiful to watch unfold. The underbelly of the family is a grisly, corrupt business venture, but that’s not hit so hard that it turns the whole film into some goofy Guy Ritchie-esque caricature. All these new elements are balanced out so that the film maintains a consistent tone and Shakespeare’s language rises to the forefront, emotionally gripping as ever.
Ahmed and Clark are the standouts among a terrific cast. Their respective abilities to portray characters gripped by fear and pain — and crucially, to make that feeling of being stuck dramatically interesting — anchors the entire film, and they have fabulous chemistry on top of that. As Claudius, Art Malik cuts a very imposing figure, but also seizes on the character’s innate vulnerability, even if a lot of Claudius’ lines have been cut here. The great Timothy Spall steals every scene he’s in (as he often does) as Polonius, Claudius’ right-hand man and the father of Laertes (Joe Alwyn) and Ophelia. In general, the film works such wonders with the relationship between Hamlet and Ophelia that basically all the other characters (and a few key plot points) get shortchanged, but every cast member does get at least one chance to shine.
There’s no telling where future Shakespeare adaptations will go, but this Hamlet certainly leaves its mark and then some. It may not be absolutely perfect as a film in and of itself, but, as I said before, every Shakespeare adaptation relies on the competence of its cast, and rarely will you find a better one than the filmmakers have assembled here. | George Napper
