It wasn't the first matter to draw my attention, nor the first I intended to remark upon, but as one watches one can't help but observe that this rendition of William Shakespeare's play rearranges the story in some measure. The beginning of Act III, Hamlet's scene with Ophelia, has been moved to the middle of Act II, preceding a cheeky scene between Hamlet and Polonius (which leads into Hamlet's conversation with Rosencrantz and Guildenstern, etc.). This is unexpected, but truly brilliant: following all the prior plot development, Hamlet's dismissal of Ophelia then hits extra hard as the most dour note so far, and a portent of darker things; that the mood, here, next completely reverses to provide hearty blasts of humor is a stunning shock of whiplash that keeps we viewers alert and on our toes. I assume this choice, represented in 2009's televised adaptation, flows immediately from director Gregory Doran's 2008 staging with the Royal Shakespeare Company, and I can only commend him for that choice. Mind you, even outside of such specific moments - more of this, both by order and by tone, and still other flavorful variations - Doran's direction is plainly outstanding. There is at once a meticulous precision to the arrangement and delivery of every line, movement, and performance, and to the contributions that capture the whole on film, and also a roaring vitality that makes the whole presentation feel, as much as it could, like an extemporaneous expression of emotion by the characters themselves, indivisible from the players depicting them. One assumes great things wherever The Bard is invoked, and where these actors are involved, and still this 'Hamlet' is so sharp and captivating that Doran can only be congratulated for the vision and guidance that brought it to bear.
Yet Doran's command of the production is only part of the equation, and speaking of those actors, I am so overjoyed by their work here that I feel lightheaded. I admit that there are only a couple names here that I am particularly familiar with, but the full cast is exceptional in bringing the tableau to vivid life. From those bits of wry, barbed, sardonic wit, to those of the most frivolous, cartoonish flippancy; from the tragic notes of harrowed or sorrowful drama to the most animated, invigorating emanations of anger and violence, and everywhere in between, all involved provide staggeringly strong displays of acting that are each in and of themselves raptly absorbing. Only for the fact of the time they are given in the play do some stand out above others; among the unmistakable highlights are Mariah Gale (Ophelia), Penny Downie (Gertrude), and Oliver Ford Davis (Polonius), and among those others still highly deserving themselves, Ryan Gage, Mark Hadfield, Edward Bennett, and more. Even given a supporting part as Claudius (and further doubling as the ghost of the king), Patrick Stewart wields dazzling power and presence; one wishes his role were still larger, because Stewart is such a tremendously skilled actor that he shines so even with such limits. And still, for as wonderfully impressive as all are in these three hours, demonstrating superior range, nuance, and emotional depth, calculated poise and physicality, and unfailing intelligence, in one fell swoop I've fallen in love with David Tennant. The electric fervor and boundless energy and vibrancy the Scotsman carries as Prince Hamlet, across every mood, through feigned madness, and from beginning to end, excites and inspires as a singular, superlative performance with few points of comparison amidst everything I've ever watched. It cannot be overstated how stellar Tennant proves himself to be, and by his work here alone I estimate he earns a place among all the greatest players that have ever been named.
With both director Doran and the exemplary cast doing so much to carry the weight of this picture, it remains true that everything else about it is consistent with its excellence. The sets are relatively austere, but still bring the updated setting to bear with gratifying aesthetics and mindfulness; likewise the lovely costume design, and no less the hair and makeup that really does play a critical role at some junctures. Those environmental effects that are employed are splendid as they lend to the presentation, not to mention the choreography and stunts that dovetail into Doran's instruction of the cast's flawless acting with impeccable fluidity, like a water pitcher gently poured into a stream. I especially adore Paul Englishby's music, a selection of somber themes that stick to the background but help provide definite, dreary atmosphere. Even Chris Seager's cinematography, and Tony Cranstoun's editing, seem notably smart throughout in a manner that earns a mention. But on top of all this, one must surely observe the absolute ingenuity of Shakespeare's play, written some 400 years ago. Bits and pieces of the drama are ubiquitous in popular culture to varying degrees by way of homage, reference, parody, quip, and adaptation, and I would hazard to guess that many people in the English-speaking world have had some familiarity with 'Hamlet' at one time or another, at least in its written form. To actually see this story and these words realized, however, is another matter entirely. The tale is marvelously engrossing and compelling, with awe-inspiring scene writing and carefully considered characters. The verses alone pop out with such breathtaking spirit and cleverness that I swiftly found myself swept up even merely in the poetry of the dialogue. How much of that intoxication here can be attributed to Bill Shakes, and how much to the conjuration by Doran, Tennant, and the other direct participants, I do not know, but I was totally spellbound for the entirety of the length.
What more is there to say? I can appreciate that as a matter of personal preference this will not appeal to all, and the runtime might be daunting for more casual viewers. Yet whether one admires The Bard, or someone involved in this feature, or is just looking for something good to watch, I cannot recommend Doran's 'Hamlet' highly enough. I anticipated enjoying it, and my expectations have been far, far exceeded. As far as I'm concerned this is a must-see; I'm remiss that it's taken me so long to watch, and I must urge all others to attend to it as soon as they're able. Bravo!
Yet Doran's command of the production is only part of the equation, and speaking of those actors, I am so overjoyed by their work here that I feel lightheaded. I admit that there are only a couple names here that I am particularly familiar with, but the full cast is exceptional in bringing the tableau to vivid life. From those bits of wry, barbed, sardonic wit, to those of the most frivolous, cartoonish flippancy; from the tragic notes of harrowed or sorrowful drama to the most animated, invigorating emanations of anger and violence, and everywhere in between, all involved provide staggeringly strong displays of acting that are each in and of themselves raptly absorbing. Only for the fact of the time they are given in the play do some stand out above others; among the unmistakable highlights are Mariah Gale (Ophelia), Penny Downie (Gertrude), and Oliver Ford Davis (Polonius), and among those others still highly deserving themselves, Ryan Gage, Mark Hadfield, Edward Bennett, and more. Even given a supporting part as Claudius (and further doubling as the ghost of the king), Patrick Stewart wields dazzling power and presence; one wishes his role were still larger, because Stewart is such a tremendously skilled actor that he shines so even with such limits. And still, for as wonderfully impressive as all are in these three hours, demonstrating superior range, nuance, and emotional depth, calculated poise and physicality, and unfailing intelligence, in one fell swoop I've fallen in love with David Tennant. The electric fervor and boundless energy and vibrancy the Scotsman carries as Prince Hamlet, across every mood, through feigned madness, and from beginning to end, excites and inspires as a singular, superlative performance with few points of comparison amidst everything I've ever watched. It cannot be overstated how stellar Tennant proves himself to be, and by his work here alone I estimate he earns a place among all the greatest players that have ever been named.
With both director Doran and the exemplary cast doing so much to carry the weight of this picture, it remains true that everything else about it is consistent with its excellence. The sets are relatively austere, but still bring the updated setting to bear with gratifying aesthetics and mindfulness; likewise the lovely costume design, and no less the hair and makeup that really does play a critical role at some junctures. Those environmental effects that are employed are splendid as they lend to the presentation, not to mention the choreography and stunts that dovetail into Doran's instruction of the cast's flawless acting with impeccable fluidity, like a water pitcher gently poured into a stream. I especially adore Paul Englishby's music, a selection of somber themes that stick to the background but help provide definite, dreary atmosphere. Even Chris Seager's cinematography, and Tony Cranstoun's editing, seem notably smart throughout in a manner that earns a mention. But on top of all this, one must surely observe the absolute ingenuity of Shakespeare's play, written some 400 years ago. Bits and pieces of the drama are ubiquitous in popular culture to varying degrees by way of homage, reference, parody, quip, and adaptation, and I would hazard to guess that many people in the English-speaking world have had some familiarity with 'Hamlet' at one time or another, at least in its written form. To actually see this story and these words realized, however, is another matter entirely. The tale is marvelously engrossing and compelling, with awe-inspiring scene writing and carefully considered characters. The verses alone pop out with such breathtaking spirit and cleverness that I swiftly found myself swept up even merely in the poetry of the dialogue. How much of that intoxication here can be attributed to Bill Shakes, and how much to the conjuration by Doran, Tennant, and the other direct participants, I do not know, but I was totally spellbound for the entirety of the length.
What more is there to say? I can appreciate that as a matter of personal preference this will not appeal to all, and the runtime might be daunting for more casual viewers. Yet whether one admires The Bard, or someone involved in this feature, or is just looking for something good to watch, I cannot recommend Doran's 'Hamlet' highly enough. I anticipated enjoying it, and my expectations have been far, far exceeded. As far as I'm concerned this is a must-see; I'm remiss that it's taken me so long to watch, and I must urge all others to attend to it as soon as they're able. Bravo!