Hamlet, one of the great works of drama ever written, has been adapted countless times, though because of its dramatic foundation, somehow still leaves much room for new interpretations. From modern imaginings such as the Ethan Hawke-starring Hamlet (2000) to the faithful abridged (The Best Picture-winning 1948 film), the fearleslly unabridged (the 1996 Kenneth Branagh film), and of course, the “inspired-by” works such as The Lion King (1994) and yes, even Strange Brew (1983), Hamlet, as with most Shakespeare works, has molded traditional storytelling for centuries. Why add one more? Actor Riz Ahmed and director Aneil Karia, coming off their Oscar win for Best Live Action Short, The Long Goodbye (2021), team back up to seamlessly weave South Asian cultural tradition into the classic play and grant it a brand new identity.

Ahmed, a vocal Hamlet super-fan, had long been itching to meld South Asian culture and politics into the classic play, and approached Karia and screenwriter Michael Lesslie with his singular vision. The result in the end still can’t help but feel contained and restricted to the original text in a narrative sense, unable to really create something far beyond just yet another version of Hamlet (it’s not as wild a cinematic swing as, say, Baz Luhrmann’s Romeo + Juliet). However, the passion for the material is undeniable and the imagining itself is chock-full of intoxicating sequences that visually astound and integrate brilliantly through a modern lens.

The kingdom is a corporate entity headquarters, Prince Hamlet’s father (Avijit Dutt) was the CEO. Polonius (Timothy Spall), the chief counsellor in the original text, is the the business advisor and fixer. His children Laertes (Joe Alwyn, his second Hamlet-related project in a matter of months) and Ophelia (often-lover to Hamlet, played by Morfydd Clark) are wealthy socialites. Hamlet is heir to the company, though as through real cultural tradition, his uncle Claudius (Art Malik) steps in to wed his widowed mother Gertrude after Hamlet’s father’s passing. Hamlet’s father appears to him as a ghost, but not until after a drug-fueled bender at a nightclub that sparks the potential hallucination. The singular soliloquies are done mostly with close hand-held one-takes, allowing Ahmed to flex his intensity and fluency of Shakespeare dialogue. The famous “To be or not to be…” scene is done inside a speeding car, Ahmed’s hands gripping the wheel recklessly flying through traffic, just inches from death with every turn. The play Hamlet stages is done through a breathtaking ceremonial dance, brilliantly and hauntingly choreographed by Akram Khan.

Lesslie, Ahmed, and Karia disect the original text any which way they can for it to fit into a contemporary London setting. The focus is more narrow and intimate. The cast has shrunk mostly just to the core, primary characters (there is no Rosencrantz or Guildenstern to be found!). In just hitting the important bullet points, their adaptation has enough juice and originality to make it worth the watch, even though its dedication to preserving the text can still feel monotonous in spots. It certainly doesn’t improve, or give extra weight or new dimension to the characters outside of Hamlet. Morfydd Clark does what she can with the scraps of Ophelia material they offer her, though few Hamlet adaptations have ever cracked that character. Malik has the menacing presence that Claudius demands, though this version does keep his intentions and combative relationship with his nephew a bit unexplored. Alwyn and Spall stand out the best of the supporting players, Alwyn perfectly smarmy and preppy and Spall quietly conniving and unsettling.

The bulk of the material is placed on Ahmed’s shoulders, of course, often carving out one-man-show/blackbox theatre time for Ahmed to shine. His eyes bulging with fear and sorrow, his charisma masking burgeoning vengeance, it’s the showcase role for any actor and Ahmed makes a meal out of it. Shakespeare heads should feel mostly rewarded with this interpretation, Lesslie’s script carefully weaving the original text dialogue with modern elements, still keeping the integrity of its poeticism yet feeling natural out of the mouths of its cast. Even those who find this text to be patience-testing should still get enough vibrant and surreal flash and flair to remain invested in this done-to-literal-death story. Get thee to a theater-y!