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Never mind the "updating", the language remains and the line readings are vested with a significance lacking in most stage productions I've seen. Plus the dramatic compression given the Gravediggers' scene is exemplary, and Rosencrantz (Steve Zahn!) and Guildenstern are a hoot. Also the To Be aria is exquisitely foreshadowed and mounted.Truly this (shortened) version serves the Bard.
clark
his father's ghost transparent through a glowing pepsi one machineor to be or not to be given infront of a wall of blockbuster videotape cartons
good job on the whole, but the product placement totally pulled me out of the story
Complaining about a *Pepsi machine*! As for the stacks of videotapes, you may have missed the whole point, that H was prowling the aisles wondering what the fug he should do ("whether 'tis nobler...or maybe... well...") and ALL THE RED SIGNS on the display bays say ACTION. And he's too self-absorbed to notice! I think it's a great moment -- one might even say, a blockbuster moment.clark
I saw the four hour Kenneth Branagh version and by the two and a half hour mark, 'I' wanted to kill Rosencrantz and Guildenstern. Also saw Mel Gibson's "Lethal Hamlet"; wished he said "I'm gettin' too old for this sh*t".
Yeah, the Branagh was a stretch (yawn) but maybe ya gotta blame the bard. And while there's much to criticize in a youth-angst interpretation of Hamlet, for me it plays as well as many. And some of the insights shown by the director compete with any professor's. For instance, from the start Ophelia shows a strange affinity for walking beside fountains and pools...
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