RSC's Hamlet

I was incredibly excited for the new RSC’s film of Hamlet. The wonderful David Tennant starred in the title role with Patrick Stewart in the role of Claudius.
The production was very solid, but didn’t completely live up to my wildly high expectations. For one horrible moment, I thought I might be tired of David Tennant, but I realized that I am actually a bit tired of Hamlet. That play has followed me for years and after heavy scholarly and theatrical study, I can never look at certain passages the same way and cannot keep from analyzing as I watch.
I must say that Gregory Doran and the cast did explore many linguistical nuances in ways I’ve never seen in a film or stage production of Hamlet before. While some aspects of the production may have lost a certain amount impact when moving from the stage to film, Doran used the film medium to its fullest being appropriately subtle with many portions of it, not trying to replicate or simply film a theatrical performance. Visually, he explored images of mirrors and then their shattering during the latter part of the play as various characters experience cracks in their sanity or perception of identity- reflecting the distortion that fills the play. The use of cameras in the film even beyond the paranoia inducing surveillance cameras around the castle, but also in Hamlet’s own attempt to record events and through an introspective video diary style conversation during some moments of soliloquy, are unique.
The first appearance of the Ghost is only shown by the reaction of Horatio and the guards, my hope was that he wouldn’t be revealed until the meeting with Hamlet late in the first act. Unfortunately he was shown later in the scene to limited impact in my opinion. David Tennant’s Hamlet starts out as a depressed, overgrown schoolboy, more full of tears than fire. I think that it was an effective approach, he is already in a contemplative and melancholy place in the first moments of the play. Once bent on revenge he gains energy and his “antic disposition” seems less like an act and more like a true affliction of his own unraveling.
The castle of Elsinore is a contemporary setting with glassy floors, surveillance cameras and two way mirrors. Hamlet is playing a role, aware that he is seldom unwatched. Before the “O what a rogue and peasant slave am I!” speech he literally tears a camera off the wall and then utters, “Now I am alone.” Tennant’s “Get thee to a nunnery” scene is charged with more than just Hamlet’s play acting, but with true hurt and feelings of betrayal.
Oliver Ford Davies as Polonius is at times mildly comical with his pontification, seeming to be a man who often repeats his little words of wisdom- to the point where other characters are mildly irritated and very familiar with nearly every lengthy phrase that escapes his lips. Sam Alexander and Tom Davey play Rosencrantz and Guildenstern play Hamlet’s school friend, and quite certainly, partners in debauchery. Patrick Stewart brings an understatement to Claudius, not playing him as a great villain, and showing believable affection for Gertrude as well as guilt over his brother’s murder. From the first time we see him, it is also easy to note that he and Hamlet have never gotten along.
Mariah Gale, as Ophelia was very curious. She starts out a little playful and with a sense of independence, a trait I’ve never seen in Ophelia. As the play continues, that small stubbornness in her proves to be more like childish bravado as she crumbles inside. Though, I wish she had shown more reaction to the “Get thee to a nunnery” scene when next she sees Hamlet. At the play, she hardly registers anything being wrong until Hamlet starts interrupting the performance and acting out.
The infamous closet scene with Gertrude was where the play truly picks up momentum. Tennant and Penny Downie gave the scene incredible intensity without going in the uncomfortable and largely unwarranted incestuous direction that so many production go in thanks to Freud and Lawrence Olivier.
Though my favorite RSC is probably still the Macbeth with Ian McKellan and Judi Dench from the 70s, I can say it definitely topped the Mel Gibson Hamlet and could be a great tool for studying the play in an academic setting, though enjoyable for pleasure watching as well.

The Waters of Mars

The first of the final three Doctor Who specials aired last night. As much as I thought the "infection" made its victims look vaguely zombie movie-ish, it was frightening. Water in itself is the most powerful force on earth, as the Doctor say 'it wears away the mountain tops.' There is so much unknown and unexplained in this episode, the source of whatever it is in the water is never revealed. The unknown is always something this series plays on. It's why "Midnight" was one of the most frightening episodes.
What was most terrifying about this particular epsiode was the Doctor himself. He's reaching the end, he knows his death is inevitable. That coupled with his extreme feeling of loneliness, of loss and his own fear leads him to rail against the rules he's been living by. He's tired of doing the right thing and suffering for it. In the end we see a half crazed Doctor decide that he can and has the right to change time. He wages a battle against time itself, and yet in the end we see his extreme vulnerability and fear eclipse the arrogance he was projecting. He asks "Have I gone too far?"
That is where we are left until next Saturday and the US premeire of "The End of Time Part 1."
There's an article in The Guardian today. It's a bit long and there are a few lines that are spoilerish about the finale, but if you don't mind risking it, check it out here.

Photo courtesy of The Guardian, December 20th 2009.

A Small Rant About Doctor Who

With the weather being increasingly unpleasant, outdoor activity has been out of the question this weekend. Even driving around has been advised against. I've started drafting my new story, currently called "Matchless"- I'm very enthusiastic about it and the way my ideas are progressing. Mostly though, I've been watching Doctor Who.
I came onto this phenomenon late, Tennant is the only Dr. I have a realm of experience with, I have seen a bit of Eccleston and some clips of some of the earlier Drs, but for me Tennant is and always will be the Dr. Some friends assert that he's too angry for the part, but honestly, with all he's seen and lost, wouldn't you expect a little angst? I think he's one of the elements that keep the show from getting campy.
That and the fantastic writing. I love Robin Hood, of course, but it can not compare to Doctor Who in terms of continuity and story arching. They plan out the sereis so well and tie in little things that seem incidental early on, they all play out later on.
Next Saturday "The Waters of Mars" the second of the four specials is airing and then I believe on Boxing Day "The End of Time: Part One" will air. From the previews it looks like there might be a return of The Master. How? I have know idea, but I look forward to finding out. Of course, the 'infection' in "The Waters of Mars" looks a bit like a zombie problem from those previews. I still have hope.
And yes... I have been reading Middlemarch as well. Do you even need to ask?

Endgame

I watched Endgame tonight. I am not a political person, so I really appreciated the wonderful intro by David Tennant. It was not just wonderful because DT looked very nice and was speaking in his home accent. The intro was minimal, no frills, it gave a backdrop of context for the piece.
It was a difficult story to translate to film, a lot of "table talk" scenes, but there were some very solid performances from the cast. The camera points of view added visual interest to the piece, giving impressions of justified paranoia, that the characters (especially Michael Young played by Johnny Lee Miller)were being watched- which they were. At one moment, the camera shifted focus from Mandela to the bars of his cell, highlighting his incarceration. Perhaps because of my lack of connection to the situation or the documentary feel of many scenes, but I did have trouble feeling engaged and involved in the story and the characters. That always happens to me when watching Masterpiece Contemporary. Last year The Last Enemy left me feeling much the same. I don't know if it's me or the filming styles or the script, but I can't get emotionally involved with their series'. *Sigh*

Beforehand I was watching Nature, it was their program about the wild Stallions, beautiful creatures. There were previews for some upcoming programs after the show, their new Frontline "Close to Home" about the recession is cleverly filmed in a hair salon. Everyone opens up about their problems when their hair is being washed. Maybe because it's comforting, because our parents always washed and combed our hair as children.
I love PBS. Just wanted to share that.

Masterpiece Contemporary

photo credit: nerdfighters.ning.com

Guess who the new host of Masterpiece Contemporary is? Okay, I sort of spoiled it with the photo, but yes, it is the incomparable David Tennant.
Their season starting this Sunday is as follows (courtesy of pbs.org):
Endgame- October 25th Starring Chiwetel Ejiofor and Johnny Lee Miller (also in the new Emma coming to Masterpiece Classic this season!)
Place of Execution- November 1-8 Starring Juliet Stevenson and Greg Wise
Collision-November 15-22 With Lucy Griffiths from BBC's Robin Hood

Speaking of David Tennant... did anyone hear that the RSC is making a film of their recent production of Hamlet starring DT? I wept with joy personally.
Oh, and Collision stars the eighth Doctor, Paul McGann. Isn't that cute? Getting the Whos together. Warm fuzzy feelings.
Oh- and Philip Davis who was in "The Fires of Pompeii" with Doctor eleven, DT. It' like a class reunion.