A new feminist slant on a bard classic
A feminist reenvisioning of Shakespeare’s “Hamlet,” “Ophelia” assumes the POV of Hamlet’s betrothed (the heroine of the title) and boldly begins with a “Sunset Boulevard”-esque opener; us hovering above the protagonist’s body floating in a body of water as their voiceover from beyond tells us how they got there and why. It’s an alluring grip, but not necessarily one that holds as tight as that 1950 classic starring Willam Holden and Gloria Swanson.
Based on the young adult novel by Lisa Klein, the perspective pivot might tweak some Shakespearean loyalists but for others, it may also pique bard interest—after all look what Tom Stoppard did with “Rosencrantz and Guildenstern Are Dead.” The burden of success for such a high dive attempt ultimately comes in the execution, and while Claire McCarthy’s production is big, lush and gorgeously shot (by Denison Baker) it doesn’t quite stick it. On the plus side, the tragic tale of deadly familial parlor games finishes with some smart, surprising twists and the whole feminine slant feels timely and appropriate given the state of sexual politics and equality these days.
The casting too is something of a minor coup, with Daisy Ridley (Rey in the current “Star Wars” trilogy) donning auburn locks in the title role, Naomi Watts as Hamlet’s mother, Gertrude and Clive Owen as the snaky manipulator Claudius. George MacKay add a fresh face in the role of the Danish prince though it’s mostly in the corners of the frame, though the scenes with Ridley—and there’s not enough of them—posses the kind of rich ripe chemistry found in the Franco Zeffirelli and Baz Luhrmann productions of “Romeo and Juliet.” Though the role of Claudious is deepened with more backstory here, Owen is mostly held in check by his character’s singular duplicitous mode. Ridley and Watt on the other hand, are gifted more full bodied characters that expand, bond together and lift what threatens to become a production over leaden with plot and expectation. To that end, MacCarthy and her screenwriter Semi Chellas (“Mad Men”) do keep all the pieces successfully (if precariously) in the air, and handle the flips from the known to the new, with respectful diligence.
Overall “Ophelia” delivers bewitching intrigue and charm. It takes bold chances and mostly succeeds—a big part of that being Ridley’s subtly sizzle. Her Ophelia’s not too far from Rey in “The Force Awakens” (heroines of ‘common’ origin forced to the center of an epic conflict spurred by greed and tyranny) but in a Shakespearean yarn you can’t hide behind massive CGI FX and Yoda speak, her range and confidence will have casting agents think of her for—just about anything. McCarthy (“The Waiting City”) too should likely see her stock rise, the composition is assuredly sharp and authentic, though the slight modernistic infusion into the period score, distracts more than it adds anything new.
That’s not to say “Macbeth” is all a mess. It offers a rapturous staging of the battle of Ellon, righteous in its fury, and boasts two of the best and most interesting actors working in film today, Michael Fassbender and Marion Cotillard. But Fassbender, so alive with spit and rage in “12 Years a Slave,” feels muted here, lacking the enunciating articulation that Kenneth Branagh rebranded as the standard when as a young man he ingeniously resurrected “Henry V” in 1989. There’s a dull detachment that one could attribute to the amount of blood spilled at Ellon. The three scribes (a scribe for every witch) who adapt Shakespeare’s timeless tale of tragedy, avarice and madness (Todd Louiso, Jacob Koskoff and Michael Lesslie) imbue Macbeth with a son, who is gone before he even speaks during the opening carnage.
For What it's Worth 