Review: Ophelia

"You may think you know my story," the titular character notes at the start of Ophelia, a reshaping of Shakespeare's classic Hamlet in which the Danish prince's tragic love takes her place front and centre. Based on Lisa Klein's 2006 young adult novel, the film is certainly boasts an intriguing premise, sumptuous production design, and a terrific lead performance from Daisy Ridley, who radiates intelligence, independence and integrity in every scene. Yet, despite a strong first half, the film eventually evolves into a convoluted and hollow melodrama in it second half.

The film begins with a recreation of John Everett Millais' famous painting of Ophelia, floating in the river just before her garments would soon be "heavy with their drink" and pull her down to "muddy death." This is the Ophelia everyone knows, the poor pawn who would be driven to madness and drowning. In the film's telling, Ophelia is a wilful girl who followed her heart and spoke her mind. Indeed, these are the very qualities that attract the favour of Queen Gertrude (Naomi Watts), who takes her under her wing as one of her ladies-in-waiting. Gertrude herself is another character that's been granted greater focus. She's a woman who undoubtedly loves her son (George MacKay), but who is also vain and desperate to hang on to her youth and beauty and whose dissatisfaction in her marriage leaves her vulnerable to the charms of her brother-in-law Claudius (Clive Owen).

For a time, the film observes the dynamic between these two women and how they navigate themselves through the insular world of the palace. Gertrude sees something of herself in Ophelia - both were not raised at court and both were ridiculed as a result - but, in the end, she cuts an even more tragic figure as she knowingly allows herself to be put in her place by the dangerously duplicitous Claudius. Interestingly, though perhaps not unexpectedly, Ophelia begins to lose steam once the King dies, Hamlet returns and all hell breaks loose. Whilst film offers new shadings and perspectives on well-known scenes - "Get thee to a nunnery," for example, is more protective entreaty than contemptuous discarding - it also dilutes the impact by adding narrative threads that often come off as nonsensical and unnecessary (the Romeo and Juliet-like pact is a prime example). As a result, the inevitable bloodbath becomes absurdly melodramatic, nearly bordering on pantomime.

If the film manages to stay in the viewers' good graces, it is largely due to director Claire McCarthy's assured direction, lavish settings and exquisite costumes, fantastic camerawork by Denson Baker, and Ridley's compelling and modern (but not overly modern) take on Ophelia.

Ophelia

Directed by: Claire McCarthy

Written by: Semi Chellas; adapted from the novel by Lisa Klein

Starring: Daisy Ridley, Naomi Watts, Clive Owen, George MacKay, Tom Felton, Daisy Head, Sebastian De Souza, Dominic Mafham, Devon Terrell