I think analyzing the dialogue in a film such as this would be a silly waste of time. The methods used to convey that language, or the delivery on the other hand are paramount. Ethan Hawke definitely gave a very different feel to the character than Kenneth Branagh did to be sure. What I feel is often lost in modern telling of Shakespeare, is the lowbrow undertone. Hamlet is not intended to be as difficult to understand as it is. New English was the common speech when this was written and much of the humor, vulgar and easily understood. The fact that we have such refined actors portraying these parts may sometimes take away from it, though many compensate. The usage of non-Shakespearian actors gave a different view on things. Ethan Hawke’s Jersey upbringing shows when placed next to several British born actors with vast stage-experience under their belts. The lack of accent alone changes the inflection for many of these characters, but Hamlet stays as introspective and frustrating as ever.
The transformations are actually done with a deft touch. The changing from rulers of a nation, to CEO’s of a corporation seems to fit quite well. Hamlet as an aspiring indie film maker is perfect for a guy that lives in his head and fails to act. Ophelia’s artistic streak compliments him well. The play turning to an amateur film functions well to send Hamlets message. Almereyda uses Copy Machine, Video Camera, Pixel-Vision, Desktop Computer, Laptop, Television, Landline, Car-phone, Answering Machine, Photographs, Payphone, Facsimile, and Teleprompter in place of many monologues and soliloquies or to show distance between characters. The replacing of Fortinbras with a Newscaster was executed well, but not something I like to see lost. I suppose old home movies are meant to replace yoricks skull, but again I think it fails to fully capture the feeling completely. The limousine seems a sensible replacement for a businessman’s private chapel, though I should think his office more fitting.
The usage of modern landmarks and stereotypes is utilized well, if not a little over the top. Ophelia living across from a Key Foods with glaring price reduction signs might be a bit much, and the run down building might be downplaying her status a bit much, though her handwritten name on the doorbell is a nice touch. The citadel which is the main building is a properly imposing sight with a convenient rooftop to match. The Hippie Goth club was an amusing tough to compliment the always goofy Rosencrantz and Guildenstern. Blockbuster in this story functions as good as any place would for hamlet’s Soliloquy, the Crow a sensible film, and the action section key. I think the film over-simplifies a lot of the lot, and is forced to omit much that makes the play so intricate, but does provide a different view on Hamlet for once. It is worth watching, but against the spirit of what Shakespeare did to hold onto a dialect unspoken for a few hundred years.
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I like how you go through the film and talk about some of the staging choices. The film is obviously a real mixture of many things, many approaches and many influences. I think it wants to both retain "classic" features of the play as well as rework it (as any staging does).
ReplyDeleteFirst, I want to address your point about "over-simplification." It's an interesting place to start because this play in its original form is one of the longest in the Shakespearian canon. Its always cut quite a bit, and how one cuts it can place the emphasis quite differently. (The last time I saw it live in the theater, it ran about the same time as this film). I'm not sure I'd say its over-simplified, but the first time I watched it I thought a lot had been cut! And yet when I went back to text, it was pretty much the usual amount, if not the usual parts. I don't know what accounts for the cutting of the iconic Gravedigger Scene (alas, Poor Yorick). It was obviously in the film til quite late in the production: not only can you see what seems to be the beginning of it---a few seconds of Jeffery Wright digging a grave and singing "All Along the Watchtower"---but Wright's name is still in the credits! I'm guessing there was some studio-mandated running time, but, I'd really like to know the full story. You're right that there is a taste of it in some of Hamlet's pixelvision footage, still..
I think it makes sense that an upper class trust-funder would slum down in the Lower East Side: that part of Opelia's character is completely in keeping with the contemporary milieu Almereyda is creating.
Anyway, much to talk about tomorrow in class. Be sure to check out some of the reviews of the film---I've quoted the highlights---over on the main class blog.
And what do you make of Bardcore?
It may be sad, but I in fact already knew of the existence of one or two of these "films." hahaha I didn't know the term Bardcore though... These are all probably quite humorous, but some of Shakespeare’s plays actually lend quite nicely to the form, as long as you get rid of those nasty plots and dialogues. I don’t quite see Hamlet as one of those, but hey, if there’s a will there’s a way.
ReplyDeleteYou're not going to give us a title?
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