Hamlet Review

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(More customer reviews)"Hamlet" doesn't need any introduction -- the tortured Dane, the ghost, meditations on suicide and a climax full of death. But while many adaptations of Shakespeare's classic play feel stuffy and distant, this "Hamlet" has it all -- sleek elegant sets, powerful acting, and clever modern twists on the age-old stuff. And the best part is the brilliant performances by David Tennant and Patrick Stewart.
Prince Hamlet of Denmark (Tennant) is understandably upset when, only a short time after his father's death, his mother Gertrude (Penny Downie) marries his uncle Claudius (Stewart). But when Hamlet encounters the tormented ghost of his father (Stewart again), he learns that his dad was murdered by his uncle -- but he's plagued by indecision, since he's unsure if the spirit was truly his dad.
Hamlet's behavior becomes more bizarre and erratic -- he dumps his girlfriend Ophelia (Mariah Gale), arranges a play that mimics real life a little too closely, and generally acts like a loon (yodeling with a fake crown?). But when an argument with his mother ends in tragedy, Hamlet's fate is sealed as Claudius begins plotting to get rid of him too...
"Hamlet" is one of those plays that only really comes out two ways -- either you have a passionate, intense tragedy full of very human characters, or you have two boring hours of some whiny guy talking to himself. Having suffered through the latter in the past, it makes me appreciate a well-done performance all the more -- and this "Hamlet" is full of energy, vitality and wit.
A lot of that comes from Tennant, who is simply brilliant as Hamlet -- loads of energy, and a weird edge to his "madness" (example: freaking out Polonius by pulling a weird face). And he runs the entire emotional gamut here -- love, pain, puckish comedy, loathing, sorrow and shock, with the absolute peak being the hauntingly sad "to be or not to be" scene.
And Patrick Stewart is casually brilliant in his double role -- Claudius seems like a genial guy, but Stewart lets out little hints of his true nastiness; on the other hand, the ghost is all heavy intensity. Downie is excellent as Gertrude, and Gale is rather flat in her first few scenes, but after Ophelia goes mad she's amazing. Ripping off her clothes, leaping around, smacking Gertrude -- it's frighteningly good.
And the settings and costumes are similarly amazing. The entire play is done in a sleek, elegant modern style ("mad" Hamlet runs around in jeans), but the grandeur of a royal court is still there -- lots of elaborate formal clothes, and a looming, columned black palace-stage. There are some clever modern twists (Polonius spies through a one-way mirror and security cameras), and there are some truly brilliant bits of symbolism sprinkled through the story (Gertrude seeing the mad Ophelia in a shattered mirror).
This adaptation of "Hamlet" is a solid piece of work, with the smooth feeling of a classic play done by insanely talented people. Also: David Tennant is astounding.

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David Tennant and Patrick Stewart star in this critically acclaimed production of Shakespeare\'s masterpiece from Britain\'s renowned Royal Shakespeare Company. No recent stage production in Britain has attracted the excitement and nearly unanimous critical praise as this Hamlet. Tennant's interpretation was recognized as defining the role for a generation, and Stewart\'s complex Claudius won the Olivier award, Britain\'s highest stage honor. In this specially-shot screen version, filmed on location rather than in the theater, Tennant and Stewart reprise their roles. Dynamic, exciting and contemporary, it breathes new life into Shakespeare's greatest play.

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Hamlet Review

Average Reviews:

(More customer reviews)"Hamlet" doesn't need any introduction -- the tortured Dane, the ghost, meditations on suicide and a climax full of death. But while many adaptations of Shakespeare's classic play feel stuffy and distant, this "Hamlet" has it all -- sleek elegant sets, powerful acting, and clever modern twists on the age-old stuff. And the best part is the brilliant performances by David Tennant and Patrick Stewart.
Prince Hamlet of Denmark (Tennant) is understandably upset when, only a short time after his father's death, his mother Gertrude (Penny Downie) marries his uncle Claudius (Stewart). But when Hamlet encounters the tormented ghost of his father (Stewart again), he learns that his dad was murdered by his uncle -- but he's plagued by indecision, since he's unsure if the spirit was truly his dad.
Hamlet's behavior becomes more bizarre and erratic -- he dumps his girlfriend Ophelia (Mariah Gale), arranges a play that mimics real life a little too closely, and generally acts like a loon (yodeling with a fake crown?). But when an argument with his mother ends in tragedy, Hamlet's fate is sealed as Claudius begins plotting to get rid of him too...
"Hamlet" is one of those plays that only really comes out two ways -- either you have a passionate, intense tragedy full of very human characters, or you have two boring hours of some whiny guy talking to himself. Having suffered through the latter in the past, it makes me appreciate a well-done performance all the more -- and this "Hamlet" is full of energy, vitality and wit.
A lot of that comes from Tennant, who is simply brilliant as Hamlet -- loads of energy, and a weird edge to his "madness" (example: freaking out Polonius by pulling a weird face). And he runs the entire emotional gamut here -- love, pain, puckish comedy, loathing, sorrow and shock, with the absolute peak being the hauntingly sad "to be or not to be" scene.
And Patrick Stewart is casually brilliant in his double role -- Claudius seems like a genial guy, but Stewart lets out little hints of his true nastiness; on the other hand, the ghost is all heavy intensity. Downie is excellent as Gertrude, and Gale is rather flat in her first few scenes, but after Ophelia goes mad she's amazing. Ripping off her clothes, leaping around, smacking Gertrude -- it's frighteningly good.
And the settings and costumes are similarly amazing. The entire play is done in a sleek, elegant modern style ("mad" Hamlet runs around in jeans), but the grandeur of a royal court is still there -- lots of elaborate formal clothes, and a looming, columned black palace-stage. There are some clever modern twists (Polonius spies through a one-way mirror and security cameras), and there are some truly brilliant bits of symbolism sprinkled through the story (Gertrude seeing the mad Ophelia in a shattered mirror).
This adaptation of "Hamlet" is a solid piece of work, with the smooth feeling of a classic play done by insanely talented people. Also: David Tennant is astounding.

Click Here to see more reviews about: Hamlet

David Tennant and Patrick Stewart star in this critically acclaimed production of Shakespeare\'s masterpiece from Britain\'s renowned Royal Shakespeare Company. No recent stage production in Britain has attracted the excitement and nearly unanimous critical praise as this Hamlet. Tennant's interpretation was recognized as defining the role fora generation, and Stewart\'s complex Claudius won the Olivier award, Britain\'s highest stage honor. In this specially-shot screen version, filmed on location rather than in the theater, Tennant and Stewart reprise their roles. Dynamic, exciting and contemporary, it breathes newlife into Shakespeare's greatest play.

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Foyle's War: Set 1 (The German Woman / The White Feather / A Lesson In Murder / Eagle Day) (2003) Review

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(More customer reviews)Perhaps it's my affection for England - a love that makes my wife roll her eyes - that causes me to have a higher regard for BBC and ITV small screen productions than those of America, which seem so crass in comparison. So many of the former seem uncommonly funny, intelligent, or both. FOYLE'S WAR is an uncommonly intelligent detective drama, a period piece set on England's south coast in 1940. And, to keep the record straight, my wife's dedication to this series is at least as pronounced as mine, if not more so.

Michael Kitchen is Detective Inspector Christopher Foyle, who's ordered to remain at his post as homicide investigator for Hastings and its environs; he'd much rather be doing his bit for King and Empire fighting the Nazis across the Channel. Indeed, his son is a flying officer with the RAF. The two other series regulars are Samantha "Sam" Stewart (Honeysuckle Weeks), the Women's Royal Army Corps enlistee assigned as his driver, and Paul Milner (Anthony Howell), Foyle's assistant inspector recently returned to home front duty after being wounded with the Army during the disastrous British invasion of Norway.

In Series One,the murders occur in contexts that include sexual harassment, anti-semitism, police brutality, local jingoism, sabotage, and conscientious objection - all set against a backdrop of Luftwaffe bombing raids and the fear of imminent amphibious invasion by the German Wehrmacht.

The character of Foyle - intelligent, perceptive, reserved, compassionate, wounded by his wife's recent death, worried for his son's safety - epitomizes the phrase "still waters run deep." The viewer embarks into each episode wondering what new layer of Foyle's persona will be revealed. (Not to give too much away, but I've just seen the first episode of Series Two, which gives evidence of an old and tragic love affair involving Foyle and a now-married gentlewoman.) And the evolution of the relationship between Foyle and the occasionally cheeky Sam is one of the major delights of the miniseries as the latter proves she's smart, intuitive, and potentially more useful than just a lowly chauffeur.

The various murders investigated by the trio are never straightforward, but involve clever plot twists and hidden motives, the solutions to which silently gestate in the Inspector's mind before being revealed at the end of the story, much like the Sherlock Holmes mysteries of old.

There are, of course, uneven moments to Series One which allow for only four stars. I trust, as the show matures, that it will only get better. The areas that need no improvement are the period costuming, props and sets, all of which are superbly done and a delight to an Anglophile.


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Casanova (Masterpiece Theater) Review

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(More customer reviews)At one point in the BBC production of Casanova, the Italian ladies' man jokes with his latest paramour that his surname translates as "lucky b*stard." The real-life Giacomo Casanova claimed to have slept with 122 women and four men. Such a colorful life has sparked any number of dramatizations, including this three-part miniseries from the BBC (shown in the US courtesy of Masterpiece Theater).
The series opens with the elderly Casanova (Peter O'Toole), now librarian to a nobleman, writing his memoirs. An inquisitive serving girl, Edith (Rose Byrne) takes an interest in the old man, and he begins telling her about his adventures. The narrative shifts back and forth between the present and the past; in brief vignettes, viewers see young Giacomo's childhood and adolescence, his education and sexual awakening. Finally, "Jack" reaches young adulthood; David Tennant takes over the lead, and the fun really begins.
The story is pretty much a dramatic fabrication, although some details are accurate (e.g., Casanova's daring prison escape), and much of it comes off like an eighteenth century "Catch Me if You Can." Casanova has no money or position or status, so he gets by with a combination of intelligence, wit, trickery, and of course, sex appeal. Before long, he's hobnobbing with the Venetian upper-crust and later traversing half of Europe, bedding one woman after another. But the real love of his life is a spirited young beauty named Henriettte, who naturally is engaged to Casanova's arch-rival, Grimani. Much of Casanova's schemes and exploits over the course of the film revolve around him trying to muster the resources to win Henriette away from his enemy.
The series is, for the most part, exceedingly well-done. Its cornerstone is a tight, focused script (by Russell T Davies), crackling with witty dialogue. The story spools out at a good pace, and most of the characters are reasonably well-developed. As one might expect, there's a lot of bawdy sexual humor, but none of it is overdone. Casanova's love for Henriette gives the story a solid dramatic anchor and lends sympathy to a character who otherwise would seem like a shallow womanizer. The older Casanova's narration provides both framework and perspective, and in a nice touch, his story is still unfolding in the present even as he recounts his past. The direction (by Sheree Folkson) is generally crisp and effective, though there are some distracting gimmicky effects, making good use of visuals and character reactions.
The tone really helps to sell this production--it's lighthearted, romantic, dramatic, and poignant in exactly the right spots, taking itself seriously enough without taking itself too seriously. It also helps that the characters all feel very rooted in the culture and values of their times, and the script doesn't shy away from brutal realities, including untimely death, barbaric executions, the rigid social structures imposed by money and status, and the limited options available to women.
Visually, Casanova is a sumptuous treat, with enough location work to keep it from feeling set-bound. The interiors are gorgeous, and the costumes are fairly eye-popping, with nice shifts in color schemes as the narrative switches from one location to the next. Despite the quality and the lavish attention to detail, however, the production still looks cheap by American standards--colorful and over-the-top, but fake. Oddly, this amateur-theatrical quality is part of the series' charm, and it even provides some self-deprecating humor (e.g., an animated galleon bobbing across an old-fashioned map indicates a sea voyage). The score is spotty: good in some places, wincingly synth-pop in others.
The production's other great strength is the performances of the cast. O'Toole hits all the right notes as the older Casanova, looking back on his life with a mixture of nostalgia, pride, pain, and regret. Remarkably, the seventy-something actor conveys a real sense of sex appeal, and his chemistry with the much younger Byrne is excellent. But the film belongs to Tennant, who gets the bigger chunk of screen time and brings exactly the right combination of cheeky confidence and lovelorn vulnerability to the younger Jack. The character's over-the-top behavior would be obnoxious in lesser hands, but Tennant's nicely controlled performance keeps the viewers' sympathy with Casanova at all times. Tennant also does excellent work "aging" the character over the course of twenty years, as time, exhaustion, and disappointment all take their toll. His comic timing is wonderful--a couple of scenes are screamingly funny (Casanova goes to confession, literally giving the priest a coronary), and Tennant's delivery of lines like, "I'm the Italian with the wh*re!" are spot-on perfect.
O'Toole and Tennant are supported by a large and mostly able extended cast. Particularly impressive is Shaun Parkes as Casanova's sidekick/ manservant Rocco: the two share some hilarious banter and have great chemistry together. Also strong is Nina Sosanya as Casanova's second major love interest, a singer named Bellino: she's a real presence, despite relatively limited screen time. Byrne does excellent work as the curious and compassionate Edith. Perhaps the biggest surprise is Rupert Penry-Jones as Casanova's rival Grimani: the character starts off as a pompous, rich boor, but layers are revealed as the story unfolds, building up to an emotionally powerful scene that Penry-Jones plays to aching perfection. Probably the weakest link in the cast is Laura Fraser as Henriette--she doesn't impart much depth to the love of Casanova's life, making it hard to swallow that he'd go to such lengths for her. Given the scores of women literally throwing themselves at him, Henriette really needed to be a compelling presence, and she's not all that different from his other paramours. It doesn't help that Fraser's repertoire consists of a single facial expression, which starts off charming but starts to grate very quickly. She's not terrible--she has a wonderfully funny scene where Henriette and Jack communicate by sign language across a crowded ballroom--but in such an outstanding cast, she gets lost.
Overall, Casanova is a fun, colorful romp, with much to recommend it. It's to the series' credit that the nearly three-hour running time goes by very quickly. I strongly recommend the DVD release over the edited version PBS is showing. Yes, the sex is fairly raunchy and leaves little to the imagination, but it also provides much of the story's humor, and one crucial exchange between Grimani and Casanova feels, well, neutered with so many dirty words cut out. The production has its campy moments, and some may find it too over-the-top, but underneath the trappings is a fairly classic love story with a lot of heart.

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