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October 22, 2018

OPHELIA

OPHELIA

Although hindered by a lack of variety in its pacing, this fragrant imagining of Shakespeare’s “Hamlet,” as lived through the being of Hamlet’s love interest Ophelia, carries significant dramatic weight. There are plenty of juicy surprises to savor along the way. Naomi Watts and Clive Owen share every bit as much chemistry here (Watts as Queen Gertrude and Owen as the incoming King Claudius), as they did in Tom Tykwer’s “The International” back in 2009. Talk about a winning duo, Owen and Watts are as good as it gets.

What Tom Stoppard did for Rosencrantz and Guildenstern with his 1967 post-modern play (“Rosencrantz and Guildenstern Are Dead”), young adult novelist Lisa Klein has done for a beguiling character whose personal tale of woe in the Middle Ages clearly deserves its own telling. Semi Chellas’s script adaptation flirts with the intrigue of Shakespeare’s language with a refreshing sense of modern English. The dialogue rings like a bell.

Enter director Claire McCarthy (“The Waiting City”) to helm a brilliant cast in the service of the romantic period drama at hand. Daisy Ridley inhabits Ophelia with an inspired canniness and earthly grounding that places her as an equal to George MacKay’s Prince Hamlet. For once we see Hamlet as the teenage boy that Shakespeare intended. MacKay’s youth informs the role with the energy and naivete that supports his hot tempered nature.  

For her part, Ophelia keeps a level head in the face of much cruelty and abuses of power that attack her wherever she turns. If the movie resonates with current social and political conditions in America and abroad then so much the better for the audience to contemplate the story’s many implications.    

OPHELIA2

The filmmakers do a good job of isolating the action within the boundaries of Elsinore’s remote mountain top village where there is truly “something rotten in Denmark.” We get the contrast of the gritty atmosphere outside the castle walls where civility dares not frequent without reliable accompaniment. Although ostensibly made on a considerably smaller budget than anything Hollywood produces, David Warren’s production designs provide an authentic backdrop to the action.

The incestuous nature of the relationship between Hamlet’s power-hungry uncle Claudius and Gertrude is clarified in an appropriately furtive scene that Ophelia witnesses through a window. One of this film's joys is the way characters eavesdrop or spy on others. Suspense and mystery attend violent outbursts, frequently involving swords.

Naomi Watts savors her dual role as the witch Mechtild who Ophelia visits to procure drugs for the Queen. Still, you can help but wish that Watts had taken advantage of the opportunity to chew the scenery more than she does.     

Daisy Ridley’s Ophelia invokes strains of Kiera Knightly’s feisty naturalism even if only for similar facial expressions the two actresses share. “Ophelia” is a refreshing addition to the bold sub-genre of Shakespeare-inspired plays and films that weave in and around the prolific English playwright’s esteemed works. The movie accomplishes that most coveted of dramatic goals of leaving the audience wanting more. So be it, let’s more of these female-centric genre explorations; they are a dozen times more compelling than the Star Wars films that squander the talents of such compelling actresses as Daisy Ridley.

Rated PG. 114 mins. (B)

Three Stars

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