Hamlet

Being an American rather new to Shakespeare, I have come to discover that Hamlet is my favorite play, and as of today the David Tennant and Patrick Stewart version provides the breakthrough to understanding this complicated play. I have watched all versions of Hamlet available and was quick to check out the newest one; however, Patrick Stewart was the only familiar actor to me. I have not a clue who Dr. Who might be. Just as well, as that might have tainted my view of Mr. Tennant's acting. Most contemporary productions of Shakespeare border on silly (Leonardo D's version of Romeo and Juliet) to ridiculous (Ethan Hawke's Hamlet), but this version rocks, to use an overused phrase.

I thought the juxtaposition of Shakespeare Old English in a Modern Setting worked amazingly well. The talents of the cast came together superbly (wished for a different Ophelia though). Polonius reminded me of a more dignified version of Bill Murray's treatment, but still caught the pompous drift of the character. Horatio played the devoted and loyal friend to great satisfaction. His Roman to the death speech had me crying all three times I watched the dramatization. I thought Tennant's version of Hamlet contained a measured lunacy, the intelligent fool who had mostly everyone fooled. The To Be soliloquy had the right intensity and then in a moment Tennant switches to Guarded Lover with Ophelia and Knave of Fools to Polonius.

I'm up for another view after writing this. Three hours spin by as I absorb new nuances and understanding. What a marvelous way to spend the afternoon.

I've seen many productions of this play on screen - Olivier, Branagh, Plummer, Chamberlain, Williamson. I've also studied the play and am used to thinking of Hamlet as severely depressed. He's the "gloomy Dane," is he not? Tennant's Hamlet is much more manic, say, than Olivier's or the agonized melancholic in my mind, and it took some getting used to. He embodies the ambiguity about Hamlet's madness. Is Hamlet crazy with grief, or is he feigning madness to distract from his plans to revenge his father's murder, or is the line between those two perforated? This is a great production, and I recommend it enthusiastically.

I lived in the UK during the production of this Hamlet, but, alas, tickets were sold out. When I found it was filmed, I was ecstatic. A long time fan of Patrick Stewart and David Tennant, I had high hopes. However, I was blown away by this film. Those who have complained about Tennant's acting skills are treating him as the Doctor starring in Hamlet. Tennant's portrayal is one of my favorites. Here is the Hamlet I've read, a young man with a terrible knowledge searching for answers and guidance. His "To be or not to be" was chilling. Patrick Stewart as Claudius is soft-spoken and deadly. He gave me shivers. Here is a man who looks like your uncle (to use one reviewers words), but would kill you in a moment. If I had one complaint, the actress portraying Ophelia was an obvious let-down. I'm not a big fan of Ophelia and this actress seemed to be struggling with the character. Her "mad" scene was painful to watch. So, I had to give this 9 stars. Excellent production. Great set, acting, and atmosphere. I loved it.

For American audiences who love Shakespeare (an oxymoron at best!) and Harry Potter, the casting of David Tennant as Hamlet is an intriguing one. Tennant, who is wildly popular in the UK in the Doctor Who series, is also known to fans across the Isles as Barty Crouch Jr. from Harry Potter fantasy franchise.

Pairing David Tennant with Patrick Stewart, who is a double foil as both the slain ghost king father and Hamlet's uncle Claudius is masterful casting in this version from the Royal Shakespearean Company. As a result, Stewart was nominated for an Emmy as Best Supporting Actor.

Besides this quirky casting choice, director Gregory Doran propels this oft-told tale through the tone and inflection that each character brings to the all too familiar silted language of the Bard. One could easily close their eyes and simply bask in the joy of the rise and fall of phrases and words spun into this delightful audio experience.

Yet another pleasure is watching Sir Patrick Stewart literally play against himself - mano y mano - as Hamlet's mournful ethereal specter and the greedy, selfish brother. Pennie Downie, Mariah Gale, and Oliver Ford Davies provide an excellent counter-point to the brash and bold Tennant/Steward duo.

This is a fine minimalist production that should be added to any Hamlet FANatic's collection.

No matter how many times I see Hamlet (and I've seen it a LOT), I always seem to be in directorial mode, mostly to the detriment of what I'm watching. This is one of only two Hamlets where I was capable of actually watching the PLAY, rather than the director's mistakes. Tennant's very tense and tightly-wound Prince exhibits a pain and obtusion almost excruciating to watch. The contemporary gloss (LOVED those black interiors, shiny floors, endless reaches of doors and columns and the infinite dark starkness) doesn't feel superficial and does not distract at all from the text, unless you're one of those Renaissance Purists. Patrick Stewart's Claudius was slick, smooth, menacing, and (oddly enough), almost touchingly revealing. This production's Queen Gertrude had that haggard, 'wanna be young' angst seen in so many truly beautiful women once they hit fifty -- and I liked that she seemed to age as the battalions of misfortune kept coming in waves. Most importantly, I liked that the director allowed the TEXT to take center stage, rather than some radical new interpretational agenda. For once, a director that allows the audience to draw their own conclusions.