A new ‘melancholy Dane’ is now a part of a South Asian dynasty in Riz Ahmed’s ‘Hamlet’

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Artists frequently revisit the works of William Shakespeare because his plays delve into universal human experiences and emotions. They offer a strong foundation for countless interpretations and feature the intricate characters and dramatic storylines that performers and filmmakers love – whether the story is a tragedy, a love story, or a comedy. The newest film based on a Shakespearean play is “Hamlet,” directed by Aneil Karia and starring Riz Ahmed as the grieving Prince Hamlet.

The story unfolds in contemporary London, using authentic dialogue. The screenplay is by Michael Lesslie, a screenwriter who’s worked on a diverse range of projects. His credits include the 2015 film “Macbeth” directed by Justin Kurzel, the popular “The Hunger Games: The Ballad of Songbirds & Snakes,” and he also contributed to the story of the thriller “Now You See Me: Now You Don’t.”

Ahmed suggested setting a new version of “Hamlet” within a British South Asian family. Lesslie had already simplified Shakespeare’s play, focusing on its core emotional themes. Director Karia adds a raw, visually striking style to the production. Ahmed himself delivers a haunting and thoughtful performance, portraying Hamlet’s inner pain as the son of a prosperous family involved in property development.

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The actor not only appears in, but also helped write, the Oscar-nominated short film. The film draws from his and a friend’s real-life, often difficult, experiences as British men of color.

Immediately after his father’s funeral, Hamlet is shocked to learn that his uncle, Claudius, intends to marry his grieving mother, Gertrude. A wild night out with his friend Laertes is followed by a visit from his father’s ghost, who reveals he was murdered and urges Hamlet to seek revenge.

Learning this shocking news throws Hamlet into turmoil, and his distress deepens as he discovers widespread corruption within his family’s company, Elsinore. They’ve been illegally removing homeless camps to make way for new construction. Driven to anger, Hamlet causes both minor mischief and deadly violence, but everything ultimately leads to tragic consequences.

The story resonates because family rituals are so deeply familiar, as shown with Lesslie and Karia. It’s easy to see how the expectations placed on Denmark’s prince centuries ago aren’t that different from what this modern-day heir faces. The influence of tradition, wealth, and family remains just as strong today, particularly within this setting.

Shakespeare’s plays truly come alive through performance, and that’s especially true when audiences are navigating the complex language. Paapa Essiedu’s captivating performance brings the text to life, refined by director Rebecca Lesslie. However, a strong supporting cast is crucial, and Essiedu has wonderful chemistry with veteran Shakespearean actor Timothy Spall, who plays both Laertes’ father and the advisor Polonius, and with Morfydd Clark, who portrays a resilient yet fragile Ophelia.

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Karia’s film relies heavily on strong visuals and a cinematic style. Cinematographer Stuart Bentley creates stunning shots, especially of nighttime outer London, with vibrant neon, car lights, and gritty urban details. The film also uses a handheld camera to give viewers an intimate, immersive feel, as if they’re right in the middle of the characters’ conversations.

The film builds to a powerful climax with a dance performance during Claudius and Gertrude’s wedding – a performance fueled by Hamlet’s turbulent feelings. This stunning display of movement is how he expresses his anger and sense of betrayal, a silent but forceful accusation. After this performance, the story reaches a point of no return, and violence quickly follows.

This adaptation of Karia doesn’t hold back, much like Shakespeare’s original work. While slightly trimmed to fit the runtime, it remains true to the source material and will appeal to both longtime fans of Shakespeare and those new to his plays. Imagine seeing the iconic “to be or not to be” speech delivered by Ahmed while driving a fast car – it’s a fresh take on a classic. The story is familiar, but the presentation is inventive.

Katie Walsh is a Tribune News Service film critic.

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2026-04-12 21:17