{"id":41224,"date":"2026-03-19T21:22:48","date_gmt":"2026-03-20T04:22:48","guid":{"rendered":"https:\/\/behindthelensonline.net\/site\/?p=41224"},"modified":"2026-03-19T21:23:43","modified_gmt":"2026-03-20T04:23:43","slug":"hamlet-movie-review","status":"publish","type":"post","link":"https:\/\/behindthelensonline.net\/site\/reviews\/movies\/hamlet-movie-review\/","title":{"rendered":"A bold, modern HAMLET that trades tradition for psychological intensity"},"content":{"rendered":"

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I have to admit\u2014I am beyond impressed\u2026 and more than a little surprised by director Aneil Karia\u2019s HAMLET. Just when you think there are no new ways to approach Shakespeare\u2019s most dissected tragedy, Karia and screenwriter Michael Lesslie deliver a fresh, invigorating 21st-century take that feels both modern and true to The Bard.<\/p>\n

For those unfamiliar with Shakespeare’s tragic tale, HAMLET is the story of the Danish prince who is tasked by his father’s ghost to avenge his murder.\u00a0 Claudius, Hamlet’s uncle, is accused by the dead king’s ghost of murdering him, taking the throne, and now marrying Hamlet’s mother.\u00a0 Hamlet is conflicted, confused, and feigns madness before mistakenly killing the family advisor Polonius, which leads to a poisoning duel where almost everybody dies in the end.<\/p>\n

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In this new 2026 cinematic experience from Aneil Karia and screenwriter Michael Lesslie, Shakespeare\u2019s most enduring tragedy is reimagined in a bold, modern adaptation set within London\u2019s elite South Asian community. When Hamlet (Riz Ahmed) returns home for his father\u2019s funeral, he is shocked to discover his uncle Claudius is about to marry Hamlet’s newly widowed mother, Gertrude. Thanks to a rooftop visit by his father\u2019s ghost, Hamlet learns of a brutal murder at Claudius\u2019s hands, spiraling him into a quest for vengeance that exposes the rot at the heart of the family\u2019s empire while threatening Hamlet’s own sanity.<\/p>\n

First kudos go to Lesslie\u2019s adaptation. Having previously impressed with Macbeth<\/em> (2015), he once again proves his skill at reshaping Shakespeare for contemporary audiences. By placing the story within the world of shady, high-stakes family business\u2014in this case, real estate\u2014Lesslie makes the narrative instantly relatable. He trims much of the Shakespearean excess, creating a more compact, streamlined story while making selective tweaks that actually elevate the material.<\/p>\n

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That said\u2026 I do miss some of the iconic elements. The absence of key soliloquies\u2014and yes, the skull\u2014is hard to ignore. No, \u201cAlas, poor Yorick\u201d is, quite frankly, a travesty.\u00a0 It\u2019s one of the most revered moments in theatrical history.\u00a0 On the flip side, Ophelia is given more narrative weight, possibly through reassigned dialogue, though her descent into madness feels underexplored given her ultimate fate.<\/p>\n

Importantly, Lesslie retains the core thread of Shakespearean dialogue, which proves even more impactful in this modern setting.\u00a0 And intriguingly, the film leans into ambiguity\u2014raising the question of whether Claudius truly murdered Hamlet\u2019s father or if Hamlet\u2019s unraveling mind is constructing its own narrative.\u00a0 That uncertainty adds a compelling psychological layer.<\/p>\n

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Riz Ahmed is a revelation as Hamlet. His performance is raw, edgy, and deeply immersive. Nowhere is this more evident than in his encounter with the ghost of his father\u2014a rooftop scene that crackles with intensity.\u00a0 Ahmed places us squarely inside Hamlet\u2019s fractured psyche, and crucially, the film never leaves that point of view.\u00a0 We see, feel, and question everything through him.<\/p>\n

Art Malik is deliciously untrustworthy as Claudius. From the moment he appears, suspicion clings to him, aligning the audience with Hamlet\u2019s fears.\u00a0 Sheeba Chaddha brings an intriguing ambiguity to Gertrude, while Joe Alwyn\u2019s Laertes is solid and effective.\u00a0 And then there\u2019s Timothy Spall\u2014always a standout\u2014who delivers a deliciously shifty Polonius, culminating in a sudden, shocking, and brutally satisfying demise.<\/p>\n

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Visually, Karia\u2019s decision to set the film within contemporary Britain\u2019s South Asian community pays off beautifully.\u00a0 The cultural layering enriches the film\u2019s aesthetic, none more so than the stunning play-within-a-play sequence.\u00a0 Bursting with Bollywood-inspired vibrancy, it\u2019s a feast of color and metaphor\u2014particularly the striking imagery of dancers with red-stained hands, silently accusing Claudius of blood guilt.<\/p>\n

Cinematographer Stuart Bentley is instrumental in shaping the film\u2019s visual identity. His use of light, shadow, and color creates a tonal landscape that mirrors Hamlet\u2019s descent\u2014dark, vengeful, and increasingly unstable. The final sequence, set in a forest of inky blue-black hues, is breathtaking. The framing\u2014moving from intimate violence to a wide, isolating tableau\u2014is hauntingly beautiful and one of the film\u2019s most memorable moments.<\/p>\n

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Bentley\u2019s use of handheld camera work, however, is a double-edged sword. When used sparingly\u2014particularly in extreme close-ups of Ahmed\u2014it effectively pulls us into Hamlet\u2019s unstable mental state.\u00a0 But overuse becomes distracting, occasionally feeling more like a stylistic crutch than a deliberate choice.\u00a0 Thankfully, more grounded compositions\u2014mid-shots and group framing\u2014offer visual relief and help maintain clarity.<\/p>\n

Technically, the film excels across the board.\u00a0 Nirage Mirage\u2019s costume design and Chris Oddy\u2019s production design\u2014especially within the play-within-a-play\u2014are exceptional.\u00a0 Akram Khan\u2019s choreography adds another layer of richness, while Maxwell Sterling\u2019s score, particularly in its instrumentation and orchestration, leans into deep, resonant tones that underscore the film\u2019s psychological and emotional weight.<\/p>\n