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Hamlet
Artisan // Unrated // December 18, 2001
List Price: $19.98 [Buy now and save at Amazon]
NOTE: This review is of the Hallmark production of Hamlet starring Campbell Scott, not the one with Ethan Hawke. THE STRAIGHT DOPE:
With over a hundred versions in the can, William Shakespeare's Hamlet is one of the most filmed stories of all time. It would seem that a truly new approach would be necessary to bring yet another version out, but there probably aren't many interpretations left and new renditions get released every year. Many, like Hallmark's 2000 version directed by and starring Campbell Scott, simply set the text in a new environment and try to pretend that that is innovation. Really, it's just window dressing. The story of Hamlet is classic. Having watched his father die and his uncle assume his place, both as his father and King of Denmark, Hamlet begins to lose his grip on reality. A series of betrayals and tragedies befall the Danish monarchy leading to its total ruin by the end. Contained within this plot line, however, is an extraordinary set of emotional journeys. Hamlet grapples with love, deceit, hate, longing, and just about every other emotion known to man. For centuries the play has been a favorite for actors and film versions from Laurence Olivier's classic to Mel Gibson's lean reduction, to Kenneth Branaugh's full-length epic have approached the material from a wide variety of angles. Michael Almereyda's version even placed Ethan Hawke into a modern setting where "Denmark" was a corporate conglomerate and some of the most famous soliloquies ever written were delivered in locations like Blockbuster. Scott's version, which at over three hours contains a good amount of the text, resets the proceedings in early Twentieth century New York, but keeps the Elizabethan English. Scott may have thought that moving Shakespeare to the time of Edith Wharton would make it more accessible to the modern audience (a ludicrous idea given that 1905 looks no more modern to today's viewing public than the 1500s) but it ends up making the film more jarring. If we're in New York then where is this "Denmark" that everyone is talking about? Plus, the serpentine familial happenings would certainly have been frowned upon in the society-driven world of turn of the century New York. The sets and costumes are visually appealing but nothing has been added to the play that makes this setting any more valuable than any other. Scott's performance does more to make the film accessible than the change in setting does. He doesn't have the dark brooding that many others play and subsequently his Hamlet seems more like a guy that you might want to grab a beer with. Scott is respectful of the material (although he does seem to be aware of the gravity of some of the more monumental speeches) but, again, doesn't necessarily make you feel like this is a version that had to be made. The rest of the cast is a real mix of styles, including Blair Brown, Jamey Sheridan, Roscoe Lee Browne, Michael Imperiole, and Lisa Gay Hamilton. Some of the acting styles fit (Sheridan is suitably stoic as Denmark's new king) while others grate (Brown is all wrong as the queen). The filmmakers have attempted to add a cinematic flair to the film and take it out of the realm of filmed stage plays. The climactic sword fight is particularly visceral. Overall, however, Hamlet is a decent production that only loses luster when compared to the scores of others that have gone before it. VIDEO:
The full-screen video looks fine. Early scenes appear grainy (a bit like old Hammer horror films) but soon enough the picture becomes crisp and clear. Colors are bright and the detail is pretty good. AUDIO:
The Dolby surround soundtrack isn't too exciting. At times the dialog is a bit tough to hear, which is a shame since the dialog is the whole point. No subtitles are included, which is always a disappointment with Shakespeare adaptations. EXTRAS:
A behind the scenes segment is included, although the amount of bragging that the narrator does about how great this version is is a bit off-putting. FINAL THOUGHTS:
The big question with Shakespeare adaptations is "Why? What have you done that makes your version different from other versions?" While there isn't too much wrong with Campbell Scott's Hamlet, there isn't anything that really helps it stand out. Fans of the cast or of the text may want to give it a look, but for the beginner there are other versions that demand more immediate attention. And, of course, no film of Shakespeare is a replacement for reading the original. Email Gil Jawetz at [email protected]
With over a hundred versions in the can, William Shakespeare's Hamlet is one of the most filmed stories of all time. It would seem that a truly new approach would be necessary to bring yet another version out, but there probably aren't many interpretations left and new renditions get released every year. Many, like Hallmark's 2000 version directed by and starring Campbell Scott, simply set the text in a new environment and try to pretend that that is innovation. Really, it's just window dressing. The story of Hamlet is classic. Having watched his father die and his uncle assume his place, both as his father and King of Denmark, Hamlet begins to lose his grip on reality. A series of betrayals and tragedies befall the Danish monarchy leading to its total ruin by the end. Contained within this plot line, however, is an extraordinary set of emotional journeys. Hamlet grapples with love, deceit, hate, longing, and just about every other emotion known to man. For centuries the play has been a favorite for actors and film versions from Laurence Olivier's classic to Mel Gibson's lean reduction, to Kenneth Branaugh's full-length epic have approached the material from a wide variety of angles. Michael Almereyda's version even placed Ethan Hawke into a modern setting where "Denmark" was a corporate conglomerate and some of the most famous soliloquies ever written were delivered in locations like Blockbuster. Scott's version, which at over three hours contains a good amount of the text, resets the proceedings in early Twentieth century New York, but keeps the Elizabethan English. Scott may have thought that moving Shakespeare to the time of Edith Wharton would make it more accessible to the modern audience (a ludicrous idea given that 1905 looks no more modern to today's viewing public than the 1500s) but it ends up making the film more jarring. If we're in New York then where is this "Denmark" that everyone is talking about? Plus, the serpentine familial happenings would certainly have been frowned upon in the society-driven world of turn of the century New York. The sets and costumes are visually appealing but nothing has been added to the play that makes this setting any more valuable than any other. Scott's performance does more to make the film accessible than the change in setting does. He doesn't have the dark brooding that many others play and subsequently his Hamlet seems more like a guy that you might want to grab a beer with. Scott is respectful of the material (although he does seem to be aware of the gravity of some of the more monumental speeches) but, again, doesn't necessarily make you feel like this is a version that had to be made. The rest of the cast is a real mix of styles, including Blair Brown, Jamey Sheridan, Roscoe Lee Browne, Michael Imperiole, and Lisa Gay Hamilton. Some of the acting styles fit (Sheridan is suitably stoic as Denmark's new king) while others grate (Brown is all wrong as the queen). The filmmakers have attempted to add a cinematic flair to the film and take it out of the realm of filmed stage plays. The climactic sword fight is particularly visceral. Overall, however, Hamlet is a decent production that only loses luster when compared to the scores of others that have gone before it. VIDEO:
The full-screen video looks fine. Early scenes appear grainy (a bit like old Hammer horror films) but soon enough the picture becomes crisp and clear. Colors are bright and the detail is pretty good. AUDIO:
The Dolby surround soundtrack isn't too exciting. At times the dialog is a bit tough to hear, which is a shame since the dialog is the whole point. No subtitles are included, which is always a disappointment with Shakespeare adaptations. EXTRAS:
A behind the scenes segment is included, although the amount of bragging that the narrator does about how great this version is is a bit off-putting. FINAL THOUGHTS:
The big question with Shakespeare adaptations is "Why? What have you done that makes your version different from other versions?" While there isn't too much wrong with Campbell Scott's Hamlet, there isn't anything that really helps it stand out. Fans of the cast or of the text may want to give it a look, but for the beginner there are other versions that demand more immediate attention. And, of course, no film of Shakespeare is a replacement for reading the original. Email Gil Jawetz at [email protected]
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