For Shakespeare’s Hamlet “the world is out of joint”. In screen writer Michael Lesslie’s collage of Shakespeare’s play, directed by Aneil Karia, Riz Ahmed’s intense, grief-wrecked Hamlet pays a high price as he tries to “set it right” in a corrupt corporate world.
This Hamlet is a radical adaptation that mostly uses Shakespeare’s words but relocates to contemporary, uber-wealthy south-Asian London. Hamlet has had a south-Asian makeover before now, most famously in Haider; a 2014 action packed Hindi film set in 1990s Kashmir. Karia’s Hamlet, however, is far moodier, more muted and uneven. Some of it is brilliant, some less so. But there is a stunning pay off at the end.
The recent film Hamnet repositioned Hamlet as a response to Shakespeare’s son’s death. Ahmed’s prince also returns the focus to fathers – after all Shakespeare’ father died around the time Hamlet was written. The film asks the audience: whom can we trust?
The opening has Hamlet performing Hindu funeral rites on his father’s body, guided by his concerned uncle Claudius (Art Malik).
Within moments of the coffin going into the furnace and the lavish wake beginning, Hamlet is taken into a side room where Claudius announces he will marry his brother’s poised and pragmatic widow, Gertrude (Sheeba Chadha). This will protect Elsinore, the ruthless family business of developers and builders.
With Hamlet in shock from this announcement, his friend Laertes (Joe Alwyn) takes him off to the drug-fuelled sensory overload of a night club. Laertes and his sister Ophelia (Morfydd Clark) in this film take on the role traditionally played by Horatio, becoming close friends and confidantes.
Ophelia, like Hamlet, is disgusted by corporate corruption although, as the daughter of Claudius’s chief adviser, Polonious (Timothy Spall), she benefits from Elsinore’s rapacious deals. But as Laertes tells the pair, she is no bride for the future head of Elsinore. An arranged marriage within his culture and one that is advantageous for Elsinore is assumed to be in store for Hamlet.
Overwhelmed by the nightclub music, dance and drugs, Hamlet flees out into the night and a decaying London, with skyscrapers on the horizon and walls graffitied with anti-Elsinore slogans. It is here that Hamlet encounters the ghost of his father, King Hamlet (Avijit Dutt).
The existence of the ghost of King Hamlet is witnessed in Shakespeare’s play by several characters other than Hamlet, including the sensible Horatio. However, in this film only Ahmed’s Hamlet sees this ghost. Is the ghost real?
Hamlet follows his father to the top of a half-built skyscraper. Speaking in Hindi, with no subtitles provided, King Hamlet tells his son that he was murdered by his brother, Claudius. Or at least that is what audiences familiar with the play might infer.
The play-within-a-play, The Murder of Gonzago, which Hamlet stages in order to confirm his uncle’s guilt is here presented as a blistering south-Asian dance at Gertrude and Claudius’s splendid wedding banquet. The dance depicts Gonzago’s murder by poison, leading to his wife’s hasty remarriage – a clear parallel to Hamlet’s situation. As in Shakespeare’s play, Ahmed’s Hamlet believes that Claudius’s reaction proves he murdered his father. However, this where the film begins to diverge from Shakespeare’s story.
The brilliant choreography (by classical Kathak dancer Akram Khan) reads, within the logic of this film’s narrative, as a direct threat of violence towards Claudius. The dancers’ fists create a funnel for poisoned wine to be tipped into the dancer Gonzago’s ear while Hamlet, apparently deranged by grief, watches eagerly.
Universal Pictures
After his nephew has caused maximum embarrassment at the wedding, Claudius’s subsequent attempts to dispose of Hamlet make sense. The dance delivered a warning to Claudius and the long term future of Elsinore is at stake. But crucially, while Shakespeare shows Claudius subsequently trying to pray, and explicitly acknowledging his guilt, Karia’s film cuts this confession.
The risk to others as Hamlet works through his grief is clear. “To be or not to be” is delivered as Hamlet drives at manic speed in a high-performance car on the wrong side of the road towards an oncoming lorry, briefly lifting both hands off the steering wheel. While the audience may still believe in Hamlet, mesmerised by the intense closeups on Ahmed’s anguished face, they might also start questioning his judgment as he enacts his revenge.
Spurts of blood fly everywhere as Timothy Spall’s Polonius has his throat slashed after responding to Gertrude’s cries for help when a manic Hamlet corners her. Disposing of the body, Hamlet encounters a statue of Ganesh, the remover of obstacles.
It seems, however, that the god might not be totally on his side when one of Claudius’s thugs attempts to dispose of Hamlet by staging his suicide, forcing him to slash his own wrists. Luckily, he is rescued by Fortinbras, the leader of a band of homeless tent-dwellers, all dispossessed by Elsinore. Shocked by their misery, Hamlet decides to give it all away and signs over his shares in Elsinore to Fortinbras.
After divesting himself of his stake in the business, Hamlet heads home seeking revenge. When Claudius flees into the garden of the palatial family residence, he stops and waits for a dying Hamlet to catch him up. This is puzzling.
As his nephew sticks a broken bottle into his guts, Claudius states with his very last breath, “I loved my brother”. Prince Hamlet unravels. The ghost is, like the witches in Macbeth, untrustworthy. In grief, Hamlet has, he acknowledges, become “bewitched”. King Hamlet was part of the corruption and so now is his son.
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