Daisy Ridley
Ophelia
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Ophelia comes of age as lady-in-waiting for Queen Gertrude, and her singular spirit captures Hamlet's affections. As lust and betrayal threaten the kingdom, Ophelia finds herself trapped between true love and controlling her own destiny.
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| Homepage | https://www.ifcfilms.com/films/ophelia |
|---|---|
| Release Date | 2019-06-28 |
| Runtime | 1h 54m |
| Directors | Claire McCarthy, Mark Taylor, Denson Baker, Martina Götthansova, David Vondrasek, Petr Bouska, Cloud Razali, Karel Kubis, Martina Frimelova |
| Producers | Ehren Kruger, Anton Lessine, Alastair Burlingham, Bert Marcus, Daniel Bobker, Sasha Shapiro, Paul Hanson, Elissa Friedman, David Minkowski, Sarah Curtis, Mathew Hart, Matthew Stillman, Wayne Marc Godfrey, Semi Chellas, Lisa Klein, Cassandra Hamar, Jennifer Thompson, Michael Reuter |
| Writers | Lisa Klein, Semi Chellas, William Shakespeare |
‘Ophelia’ was fine by way of entertainment, but it doesn't do justice to the intricacies of the original story. It doesn't portray Hamlet’s quick-witted nature, Polonius’s shit-stirring, or Claudius’s grappling with guilt. It's incredible in all elements of filmmaking, but lacks the true heart and layers of Shakespeare's work. - Lily Meek
Read Lily's full article... https://www.maketheswitch.com.au/article/review-ophelia-shakespeares-hamlet-with-a-modern-twist
— SWITCH.
Now I have to start by saying that this is not a good film, but - it does try to introduce Shakespeare to a new audience who would not have seen, nor would sit through, Olivier, Branagh or McKellan in full tilt with the skull of poor old "Yorick", and for that goal alone, it ought to be given a chance. This version is told from the perspective of "Ophelia" (Daisy Ridley) following her exploits as she in taken under the wing of "Queen Gertude" (Naomi Watts) and of her ensuing passion for "Hamlet" (George MacKay) who has been usurped for his dead father's throne by his uncle "Claudius" (Clive Owen). The story has been very heavily adapted to facilitate the new narrative perspective and as such it loses a great deal of it's potency and nuance - Clive Owen and Tom Felton ("Laertes") are shockingly wooden; as is the normally engagingly absurd partnership of "Rosencrantz" (Noel Czuczor) & Guidenstern (Martin Angerbauer). It descends quickly into a rather melodramatic love story losing much of the tension, emotional power and tragedy leading to a seriously underwhelming conclusion.
— CinemaSerf