I don't enjoy Shakespeare. Or that is to say, I
haven't enjoyed Shakespeare when presented on film or
stage. The big problem is too much poetry in too
short of time. He's very clever, that guy, I don't
want to miss any word playage. But it's ALL word
playage encoded in backward archaic grammar. Seems to
me, this stuff works better on paper, read at your
own pace.
That said, I loved the first half of this film.
This "Hamlet" drew me in like no other Shakespearean
work, thus far. The gritty New York-style imagery,
the high-tech video-insert motif, the grungey
beady-eyed Hamlet (a shaggy goatee'd Ethan Hawke
resembling the lead singer of "Sugar Ray"), the near
total elimination of pompous delivery. It's not one
of those snooty productions that treats its audience
as if they were some unworthy congregation in a
stuffy old Victorian church "privileged" to be
pastured a righteous speech spat deliberately by
self-proclaimed people of God. No, this Shakespeare
may as well have been Tarantino; a slick method for
making a 400 year old work more accessible to 21st
century masses.
Did I mention that I never made it through any
prior version of "Hamlet"? If there was any doubt,
this should distance my opinion from those of the
group of Shakespearean experts, lovers, etc. I love
movies, and while I appreciate poetry (used to write
it, actually) they don't work well together - not at
length anyway (length being 25 minutes plus). Perhaps
this is one reason I found the second half of this
film less than compelling.
Hamlet is outraged when he learns his father (the
king in William's version) the president of a huge
corporation called Denmark has died, allowing his
mother (the widowed queen) to hastily marry the uncle
(king's brother). Not surprisingly, Hamlet's state is
already askew, but the appearance of his father's
ghost sets his tilt in a spinning suicidal whirl
(hence the classic line "To be or not to be?"). Great
filming on the apparition, though a mortal actor
without special effects is used, his intense
red-edged eyes fill the screen with a greater dread
than a Spielberg poltergeist.
And that leads me to the second thing I don't
enjoy about the Shakespeare I've seen ... the plot.
Often, I find them ... well, thin, weak and empty.
And this "Hamlet" is no exception. The premise is
interesting ... but the resolve, flatly put ...
ridiculous. "Penn and Teller Get Killed" has just
about as much point ... and there's a lot more laughs
(with just as much if not more blood).
Still, William has the sharpest of dagger tongues.
In fact, this dialogue interplay is a two-hour sword
fight of tongues. When I view films, I like to write
down the "gems" to include as quotes in my reviews,
but this film is so chock full of gems, that even
just the ones I could decode in real time were to
numerous to capture on paper. Again, this is why I
think Shakespeare is a reader's art, not a
theatergoer's (save for those who have already read
the pieces).
Here are just a few of William's many many
brilliant quips that stabbed my leaning attentions:
Polonius warns his daughter of Hamlet's love:
"Affections? That blaze gives more light than heat.
Don't confuse it with fire." Polonius coaxes his
couch potato daughter: "The wind sits in the shoulder
of your sail and you are stay forth?" Hamlet on
living a lie: "Do not spread the compost on the weeds
to make them ranker ... throw away the worser and
live the other half." (Purists, kindly forgive the
imperfections in my transcriptions.)
In film, story is still more important than
dialogue. From my admittedly limited knowledge of
Shakespeare, I fault him for soapy thin plots.
However, I praise director Mike Almereyda for the
following reasons:
- Great choice of music, mixing modern (sometimes
reverse recorded) sounds, with the epic classical
timbers that conjure up images of cathedrals and
armored horsemen, but instead are married with
elevators and soda machines.
- Casting of Bill Murray as Polonius, he's a
fresh, every-man, deep-hearted pleasant surprise
addition to the pool of Shakespearean performers.
He's excellent. I love the scene where he lifts
Ophelia's foot to tie her shoe as he lectures her.
In fact, the film is full of wonderful
as-they're-talking events that make it real and not
just a rackety wooden stage of costumed
speeches.
- Likewise, casting of Karl Geary as Horatio
(great job by him).
- The TV-play of explosions as the apparition
speaks to Hamlet.
- The TV-clip usages of an Asian spiritual guru
speaking on the use of the phrase "To Be."
- Gravedigger singing songs of the 1960's.
- TelePrompTer ending.
Almereyda, had many decisions regarding what to
leave out when adapting this work. Personally, I
would have cut the Claudius plotting with Ophelia's
bro scene to one minute, cut all of Ophelia's lines
until she screams (Ophelia's silence is an anchor to
the earlier part of the film), hastened that ending,
perhaps beefed up the father-son interplay and/or
Hamlet/Ophelia love affair (sorely underplayed
here).
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