Film When this adaptation of Lisa Klein's novel was announced in 2016, it seemed initially like something of an outlier given that the cycle of Shakespeare related movies ended not long into the new century. But given the strengthening of the lead character's arc, it of course fits more properly the cycle of YA adaptations, a period take on the likes of Twilight, The Hunger Games and the Hermione Granger franchises. This is Ophelia as self-actualised woman and a reframing of the play's revenge plot as an allegory on the destructiveness of toxic masculinity.
The film opens with a ten-year-old Ophelia joining Hamlet Snr’s court and becoming a maid in Gertrude’s household, moving up the ranks as a lady in waiting. From a young age she’s desperate to read Ovid and though she’s informed that she won’t get anywhere with men if they think she’s more intelligent than they are, it’s precisely her wit which leads to her gaining Hamlet’s attraction, the one thing which sets her apart from her bitchy court rival Cristina. Slowly events edge towards the action of Shakespeare’s play but it's quickly apparent that not everything will be as it seems.
Director Claire McCarthy and screenwriter Semi Chellis keep very close to the book (which I reviewed here). As there, the events of the play are for the most part kept off screen, although like the book, Ophelia often hides behind tapestries and around corners so that she can witness plot points which will pertain to her own story arc, keeping everything from her point of view. But unlike a Tom Stoppard play, they're not simply filling in the gaps or presenting parallel action, the events of the play are significantly rewritten with new characters introduced and motivations disambiguated.
As Ophelia says in her opening narration, ".. it is high time I should tell you my story, myself" which implies in this version of Elsinore, when Horatio was called upon to tell Hamlet's story, he filled in the blanks with wild stories of ghosts, portraying his friend as the hero and sidelining the female participants, who in Ophelia's case is the one to tell Hamlet, soto voce in the "nunnery" scene about his uncle's murderous betrayal. Tonally, it's also very post-Game of Thrones retelling with Gertrude given a touch of the Cersei Lannisters which Naomi Watts clearly relishes.
Although the novel was more generally influenced by fashions and furnishings of the late-Victorian or early Edwardian painters, the author featuring an image from W.G. Simmonds's The Drowning of Ophelia on her website, the film is instead set in world straight out of the pre-Raphaelite brotherhood, the opening with a recreation of Millais' Ophelia, Daisy Ridley floating serenely on the surface of the water after violently poising herself. Ridley sports bright red Rossetti hair, and some frames seem designed to replicate a Burne Jones, Holman Hunt or most often Waterhouse's paintings.
As with the novel, the film is perhaps less comfortable when it has to directly recreate scenes from the play as the text has to be rewritten to accommodate the cod medieval idiom of the rest of the dialogue. Dropping Shakespeare directly into these moments would have been clunkier, but listening to a rewrite of the most famous phrases in the English language is impossible without thinking about the originals. Polonius's proverbs in particular suffer largely because the Shakespearean has itself has so richly shaped our language.
It's impossible to be po-faced about any of this. Shakespeare didn't originate Hamlet, his was an iteration of a much older legend and although this is closer to his play, like The Prince of Jutland (the one where Christian Bale eats a tree), everything is up for grabs, these are just story points available to be shuffled around. Anyone complaining that Shakespeare's text is tossed out of the window won't also have come to terms with the fact that Ophelia is a severely under female role, especially in comparison to other areas of the canon.
Not unlike Pride and Prejudice and Zombies, there is a slight element of sadness that there isn't also a straight production of Hamlet with this cast also in the world. George MacKay catches the impulsive youthfulness of Hamlet which is often missing elsewhere, and Devon Terrell brings a real sense of warmth and friendship to Horatio. But Ridley particular seems like she would really stand out even in a full production of the play, capturing Ophelia's passion, impulsiveness and intellect, traits so often missed by directors and casts who focus on the title character's struggle.
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