HAMLET

US, 2000, 115 minutes, Colour.
Ethan Hawke, Kyle Mac Lachlan, Diane Venora, Julia Styles, Liev Schreiber, Bill Murray, Steve Zahn, Sam Shepherd.
Directed by Michael Almeyrada.

Another screen version of Shakespeare's most filmed play. However, this is a version for a modern and younger audience (like that of Baz Luhrmann's Romeo and Juliet). It is set in the Denmark Corporation building in New York City - and the text has been considerably pruned. It is a clever film - perhaps too clever for an audience which is noting how the modern equivalents of Shakespeare's times are being rendered: Hamlet is a depressed film-maker and much action (including the Ghost) is caught on his camera; the play within the play is a video movie; 'to be or not to be' is spoken on a walk through Blockbuster video store. And there is plenty more. Clearly, purists should beware. Others will be fascinated and/or alarmed at how the text is adapted.

The performances are particularly American, less roundly articulated than with an English cast. Ethan Hawke has been condemned by some reviewers for his seemingly listless, inarticulate rendition. However, I found that this pruned version cut to some of the key elements in the play. Many of us have seen it too often and we tend to forget that Hamlet himself has not seen it. It is all developing for him. Audiences tend to judge him as too slow, too hesitant. But this version shows him puzzling, trying to verify the truth and find a strategy for action. The cast is interesting and offbeat, Bill Murray as Polonius, Kyle Mac Lachlan is Claudius and Diane Venora is Gertrude and Sam Shepard is the Ghost. Julia Styles is a believable Ophelia. Worth a look for those who are interested in updating Shakespeare.

1.The status of Shakespeare’s play? The tradition of film versions? Audience expectations?

2.How successfully updated? To the year 2000? To the United States, New York? The idea of updating Shakespeare? Modern dress? Modern situations and modern technology? American accents and the recitation of the verse? The essence of the play?

3.The use of the text, pruning the text? The tone, the internal monologues? The use of video, the video play? The musical score? The background sounds, the use of media, television programs…?

4.The American cast, types and against type? The effect of these performers doing Shakespeare?

5.The New York setting, the Denmark Corporation? The Hotel Elsinore? The security guards, the business world, business advisers? The world of business takeovers? Students, media students, video? The use of The Mousetrap as a video collage play? Ophelia’s using cards to identify the flowers and herbs? Weapons, the shooting of Polonius, poison, the fencing match between Laertes and Hamlet? The television ending with the news being given, commentary?

6.Ethan Hawk as Hamlet, age, look, a student, the media, videoing himself, his listening to his own words and reflections on the video screen? His love for Ophelia, the offhand manner with her, spurning of her? the emotional violence towards her? His attitude towards Polonius, Laertes and the past friendship? His dependence on Horatio and his girlfriend? Confiding in them? The situation of his father’s death, his mother’s remarriage, his morose reaction? His being the victim of melancholy? His action and inaction – and the irony of the ‘To be or not to be’ soliloquy done in the video store, in the action section? The information about the ghost from Horatio, his finding the ghost, talking with the ghost, the sense of mission, the effect of learning about his father? His attitude towards Claudius and not wanting him to call him ‘Son’? His harsh judgments on his mother? His severity towards Ophelia, the ‘Get thee to a nunnery’ speech? His killing Polonius? The confrontation with his mother, the violent reaction, the ghost being present? The play, getting Horatio to watch, his needing proof that the ghost was telling the truth? The visual collage of The Mousetrap? Rosencrantz and Guildenstern, the casual friendship, discussions with them, the travel, on the plane to England? His arranging their deaths? The phone calls? His arrival back, Ophelia’s funeral? The build-up to the confrontation, his agreement to the duel with Laertes, the fight, the wounding, his mother drinking the poison, his American violent shooting of Claudius? The exploration of the character of Hamlet, the realism of the treatment rather than a deep psychological exploration? His hesitation, wanting proof, the recitation of the verse, the soliloquies?

7.Claudius, smart businessman, smooth style, the celebration of the marriage with Gertrude, his love for Gertrude? With Hamlet and his suspicions? Using Rosencrantz and Guildenstern and getting their information? His reaction to the play, his wanting vengeance on Hamlet? Setting up the duel, the poison, his being shot – like an American gangster?

8.The portrait of Gertrude, how much had she connived with Claudius in her husband’s death? The hasty marriage? Her being present with Claudius at board meetings, socially? The confrontation with Hamlet, the death of Polonius, Hamlet making her look into herself, her not seeing the ghost? The finale – and whether she knew the poison was in the wine or not?

9.The ghost, presenting the ghost in realistic situation in the hotel? His speech, explanation of his doom, the purgatory experience, urging Hamlet to action? His presence in Gertrude’s room at the confrontation with Hamlet?

10.Polonius, the adviser, his pompous talk, his speeches, his advice to Ophelia, to Laertes – and his death?

11.The character of Ophelia, her age, experience, in love with Hamlet? Her being disturbed? Wearing the microphone and Hamlet’s anger with her? His spurning of her, her madness, her death in the hotel pool? Her funeral?

12.Laertes, hot-headed, the student, his return? The news of his family’s death, the build-up to the fight, his anger with Hamlet, the discovery of the truth?

13.The restoration of order in the Denmark Corporation, the television announcer and the contemporary communication about world affairs, business affairs?

14.The play, its characters, power, themes of betrayal, sexuality, the revenge play from the 17th century in the 21st century?