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Hamlet in Argentina

Hamlet in Argentina

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Published by Robbie Bruens

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Published by: Robbie Bruens on May 05, 2013
Copyright:Attribution Non-commercial


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{{Infobox film| name = Hamlet | image =| caption =| director = [[Juan José Campanella]]| producer = Juan José Campanella<br>[[Gerardo Herrero]]<br>MarielaBesuievski<br>Vanessa Ragone<br>Axel Kuschevatzky| writer = [[William Shakespeare]]| starring = [[Gael García Bernal]]<br />[[Esther Goris]]<br />[[AntonioBanderas]]<br /><!--[[Ricardo Darín]]<br />-->[[Catalina Sandino Moreno]]<br/>[[Rodrigo de la Serna]]<br />[[Diego Luna]]<br />[[Javier Bardem]]<br/>[[Benecio Del Toro]]| music = [[Federico Jusid]]<br>[[Emilio Kauderer]]| cinematography = [[Roger Deakins]]| editing = [[Daniel Rezende]]| studio =| distributor =| released = {{Film date|2012|7|26}}| runtime = 162 minutes| country = {{Film Argentina}}<br />{{Film Spain}}| language = Spanish| budget = $12 million| gross = $10,708,156}}'''''Hamlet''''' is a 2012 [[Shakespeare on screen|film version]] in Spanish of [[William Shakespeare]]'s [[Hamlet|classic play of the same name]], adapted anddirected by [[Juan José Campanella]]. [[Gael García Bernal]] stars in the title role as[[Prince Hamlet]]. The film co-stars [[Esther Goris]] as [[Gertrude (Hamlet)|QueenGertrude]], [[Antonio Banderas]] as [[King Claudius]], [[Ricardo Darín]] as[[Polonius]], [[Catalina Sandino Moreno]] as [[Ophelia (character)|Ophelia]],[[Rodrigo de la Serna]] as [[Laertes (Hamlet)|Laertes]], and [[Diego Luna]] as[[Horatio (character)|Horatio]]. Although the dialogue remains largely faithful toShakespeare's original text, the play's setting is changed to mid-[[20th century]]Argentina. The [[Casa Rosada]] is the location used for the exterior of ElsinoreCastle.==Cast==*[[Gael García Bernal]] as [[Prince Hamlet]]*[[Esther Goris]] as [[Gertrude (Hamlet)|Queen Gertrude]]*[[Antonio Banderas]] as [[King Claudius]]*[[Ricardo Darín]] as [[Polonius]]*[[Rodrigo de la Serna]] as [[Laertes (Hamlet)|Laertes]]*[[Catalina Sandino Moreno]] as [[Ophelia (character)|Ophelia]]*[[Diego Luna]] as [[Horatio (character)|Horatio]]*[[Javier Bardem]] as the [[Ghost (Hamlet)|Ghost of Hamlet's Father]]
*[[Benecio Del Toro]] as [[Fortinbras]]*[[Guillermo Francella]] as [[Characters in Hamlet#Osric|Osric]]*[[Pablo Rago]] as Reynaldo*[[Salvador Zerboni]] as [[Rosencrantz and Guildenstern|Rosencrantz]]*[[Benjamín Amadeo]] as [[Rosencrantz and Guildenstern|Guildenstern]]*[[Mario Alarcón]] as Marcellus*[[Luis Guzmán]] as the [[The Gravediggers|First Gravedigger]]*[[Danny Trejo]] as the [[The Gravediggers|Second Gravedigger]]*[[Joaquín Cosio]] as the Player King*[[Soledad Villamil]] as the Player Queen==Background==Coming off the award-winning international success of [[The Secret in Their Eyes]],[[Juan José Campanella]] was able to raise a considerable sum of money to financehis next film and used the opportunity to bring Shakespeare to Argentina on a scalenever before realized. The film had the largest budget in the history of film inArgentina, leading to some comparisons to [[Akira Kurosawa]]'s lavish 1985adaptation of [[King Lear]] as [[Ran]]. In 1999 he had planned a film for Argentinetelevision of Hamlet, but the plan was not put into action, and his energies shiftedback into more commercial international film and television productions.Campanella has said he was heavily influenced by the 1964 [[Grigori Kozintsev]]Russian film adaptation of the play, which notably emphasized the political aspectsof Shakespeare's tragedy. As a fictionalized version of the history of Argentinaserves as a backdrop for the film, [[Campanella]] worked to show how the play canreflect the darkness present in the politics of nearly any nation in any age.
Campanella’s success with The Secret in Their Eyes
made him uniquely suited fortaking on Hamlet, as that earlier film was widely praised for its blending of personaldrama and larger political tensions. As the [[Globe and Mail]] commented about 
Campanella’s Oscar
winning hit, “The wonder is that the film
balances its manygenres, from the thorns of murder to the bloom of romance to the thickets of 
politics, with such easy grace.”
 ==Adaptation==Campanella's film follows the general structure of the play, but the text is abridgedto achieve a running time of 2 hours 42 minutes including credits. The openingscene of the play is cut entirely (just as in Kozintsev), and Act II Scene 2 and Act IIIScene 2 are considerably truncated. Thus, the play-within-a-play, here dramatizedas a national radio broadcast, moves much more quickly and becomes as muchabout politics as performance. Claudius cuts off the broadcast as much to prevent ageneral uprising (commonplace in those turbulent days) as to hide his shame.Campanella also trimmed Act IV Scene 7 and Act V Scene 2 in order to keep upmomentum for the ending and deemphasize the role of fencing in the plot.
In this adaptation, Hamlet's mother and father are clearly based on [[Juan]] and[[Eva Peron]]. As such, Gertrude receives enormous prominence in Campanella'streatment of the play as she fills the role of a sort of hugely popular Evita-like figure.Campanella shows throughout the movie that Claudius must be ever vigilant in theface of the universal glow of admiration for his wife and nephew as the survivingsymbols of the new populist Argentina. Goris had previously played Eva Peron in amore realistic take on the life of the notorious public figure of Evita than theinternationally known [[Andrew Lloyd Webber]] musical.Campanella's opening owes much to Kozintsev's earlier film as well as [[RichardLoncraine]]'s adaptation of [[Richard III]]. Claudius' speech is divided up intodifferent locations. Claudius discusses the death of his brother with a knowing ironyto a close circle of generals that helped engineer his coup, but speaks about hismarriage to Gertrude on the populist lectern of a public arena to throngs of supporters. We also see Argentines listen to this broadcast on radio in a clear nod toKozintsev's inclusion of public communication in the form of a town crier.==Style==
By contrast to the solitary claustrophobia of Laurence Olivier’s version, which many
consider to be the standard by which all other cinematic Hamlets are measured, thisversion of Hamlet is cosmopolitan and teeming with extras standing in as the
Argentine masses. During many of Hamlet’s famous soliloquies, usually delivered by
a lone actor on stage, Bernal is surrounded by bustling throngs of people. Thecamera focuses on a still or slowly moving Bernal as he speaks his part in voiceover,with the crowds around him moving at a furious pace seemingly unaware of his very
existence despite his fame as Argentina’s favorite son. Campanella explains:
 <blockquote>Throughout the play Shakespeare develops Hamlet's sense of increasingly paranoidisolation, and I think that in any adaptation that sets the story in modern times, wemust see isolation as many have experienced it in the past century: a sense of alienation as a faceless individual amongst the multitude. How can one feel alone in
a city of millions? That’s the question we must ask. Shakespeare’s poetry is very
relevant to these concerns of our age, the sense of being a statistic in a world full of genocides and labyrinthine bureaucracy and marketing to the lowest commondenominator. And the crowd was also very much the politics of the period we havechosen as our setting, a populist age marked by an ordered yet impassioned rule bymob in the public square. Surveillance is another key piece of the puzzle, even moreprevalent today than 400 years ago. With people around every corner, there is noway to be completely alone with one's thoughts. There could be spies anywhere andeverywhere. And so, with our movie, we show this by never letting anyone get amoment alone. The people of Buenos Aires are meant to be everywhere we shoot.Even the most introspective moments bubble over with them. So this is very much apolitical Hamlet of the public square, and he is both thrilled and tortured by the

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