Hamlet 2024 Movie Review

The Covid lockdown of 2020 inflicted considerable damage on the performing arts in the UK, and theatres bore the brunt of the impact. Among the productions disrupted was Sean Mathias’s rendition of “Hamlet” at the Theatre Royal Windsor, an acknowledgment made apparent in the opening titles of this distinctive film adaptation of the play.

Although I wouldn’t claim expertise in Shakespearean scholarship like the esteemed Mrs. Movie Mann, I’ve seen my fair share of “Hamlet” interpretations. Yet, this particular rendition resonated deeply with both of us.

Mark your calendars, as this film will grace UK cinemas FOR ONE NIGHT ONLY on February 27th, 2024. Secure your tickets early to avoid missing out!

Sean Mathias presents a quirky take on “Hamlet” tailored for those with shorter attention spans when it comes to the Bard’s works. Compared to Kenneth Branagh’s marathon 1996 version or Andrew Scott’s riveting stage performance, this abridged edition clocks in at less than half the duration. While purists may lament the omissions, the brisk pace of the narrative is undeniably refreshing.

Can you believe Sir Ian McKellen, at 84, portraying Hamlet while his ‘mother’ Gertrude (played by Jenny Seagrove) is a mere 66? Despite the age disparity defying conventional logic, McKellen’s mastery of the role transcends such concerns, infusing the age-blind interpretation with depth and vitality. His portrayal exudes a magnetic energy that’s infectious, making the experience thoroughly enjoyable. Reflecting on McKellen’s storied career, one can’t help but recall his rebellious spirit during a quirky production in 1970/71, where critics dismissed it as “teenage twaddle.” Yet, in this instance, McKellen’s performance radiates wisdom and unparalleled acting prowess.

The supporting cast delivers stellar performances, with Jonathan Hyde as Claudius, Jenny Seagrove as Gertrude, Steven Berkoff as Polonius, Emmanuella Cole as Laertes, and particularly Alis Wyn Davies as Ophelia. Davies captivates with her emotive portrayal of Ophelia, embodying the character in a mesmerizing, rock-chick guise that resonates deeply.

How does one utilize a theatre during lockdown? The answer lies in transforming it into a film set, as demonstrated by the creative team behind this adaptation. Every nook and cranny of the Theatre Royal Windsor, from the dressing rooms to the stage, the auditorium to the gents’ toilets, serves as a backdrop for various scenes. The film ingeniously opens with a bewildered McKellen attempting to enter the theatre from the deserted street outside, with eerie apparitions haunting the stairwell. This atmospheric introduction sets the tone perfectly for the cinematic journey that follows.