Although this is an adaptation of a stage production, it does not suffer from the claustrophobia of the Tony Richardson version (see 7/28/13 post). This is a fully-realized film version that retains some of the trademarks of its precursor. Elsinore is a showpiece of modern-day hyper-surveillance, with closed circuit cameras and two-way mirrors. (Mirrors feature heavily in this production.) Seemingly everyone is both spying and being spied upon.
The modern updating of the play is apparent in the set, with its ubiquitous cameras. The costuming is smart business suits and formal wear, with occasional blue jeans, leather jackets and even a T-shirt exaggerating well-developed abs. Surprisingly, the gravedigger shoveled earth while attired in suit and hat. In another update and in similar fashion to the University of Rochester production (see 10/14/13 and 10/20/13 posts), Ophelia finds condoms in Laertes' luggage as he heads off to France. The arrival of the players to Elsinore is signaled by an auto horn, and Fortinbras' troops travel through Denmark by way of helicopters.
David Tennant is excellent as Hamlet. I will admit that I thought his first soliloquy was a bit on the emotive side, but it did not become an issue as the play progressed. In fact, I found his portrayal to be quite believable and well done. Oliver Ford Davies as Polonius is also noteworthy. He was sympathetic as a sometimes doddering old man with an underhanded side, and he even elicited several laughs during the course of his scenes. Patrick Stewart, very good as Claudius, also plays the Ghost, an interesting double. In one odd change, the role of Cornelius becomes Cornelia, perhaps in order to introduce more of a female presence. The players, though, remain all male.
The production runs to approximately three hours. For the most part, edits to the original text were not glaring, although with the play's length it is difficult at times to remember the order in which everything occurs. A mention of "our philosophy" appears, as it did in the Hamlet Live production (see 8/25/13 post). The dumb-show is retained, and it is gloriously bawdy. In Act IV, though, obvious changes were made. The "How all occasions" soliloquy is grossly shortened, and it is moved to just before Claudius and Laertes plot Hamlet's death. This change stood out as an obvious alteration. Also, all mention of pirates is removed from the play. There is no discussion of Hamlet's letters home, and Fortinbras does not appear at the end.
There are numerous novelties to this production that make it memorable. The altercation between Claudius and Hamlet at the conclusion of the play within a play is noteworthy. As discussed by W.W. Greg (see 11/11/13 post), perhaps the reason that Claudius arises is not so much due to the content of the play as that he finds Hamlet's behavior to be offensive. In this production, this line of reasoning seems to be apt. The dumb-show piques Claudius, but it does not bring him to the level of outrage. Nor does the continuance of the scene seem to be enough to break him. Rather, Hamlet's persistent commentary and jibes finally evoke a response. Claudius approaches Hamlet, and the unspoken communication between them speaks volumes. Each knows what the other knows and has done.
One rather annoying item was Polonius' tendency to address asides directly to the camera, seemingly breaking the fourth wall. Instead of an arras, Claudius and Polonius conceal themselves behind a two-way mirror, as does Polonius when he hides in Gertrude's chamber. The death of Polonius occurs by gunshot, leaving a cracked mirror in its wake. Hamlet's "rogue and peasant slave" soliloquy deserves special mention. Tired of being watched, he climbs up to destroy a closed-circuit camera. Throwing it in pieces to the floor, he remarks "Now I am alone." It adds an extra dimension to that speech.
The climactic sword fight is retained as a fencing duel. The first palpable hit and second touch occur rather quickly. At the point that Gertrude drinks, her facial expression when beckoned by Claudius to refrain gives the audience pause. Does she know? And when Claudius' treachery is exposed, the resolution is unique. Instead of being run through by Hamlet's sword, Claudius grabs the envenomed sword point, thereby cutting himself. Suicide? Subsequently, as he is forced to drink the poisoned chalice at sword point, he shrugs and drinks. Patrick Stewart stated that he inserted this gesture into all of his performances, but he refuses to explain his motivation. That, he states, is for the audience to interpret. The play ends with "The rest is silence." Is Hamlet looking forward to oblivion or to Heaven? This is another question left for the audience to ponder as the set fades to black.
Overall, this is a very good production of Hamlet. It manages to give homage both to Shakespeare's original and the RSC stage production while bringing new dimensions to the work. It is a worthwhile addition to the Hamlet canon.
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