Hamlet in a kurta
Riz Ahmed, the accomplished British actor and musician, delivers a stunning performance as Hamlet in Aneil Karia’s bold and vivid adaptation of one of Shakespeare’s greatest tragedies. This British film, presented in both English and Hindi/Punjabi, showcases a predominantly South Asian diaspora team including Riz Ahmed, Art Malik as the uncle Claudius, Sheeba Chaddha as his mother Gertrude, and director Aneil Karia.
The film was featured in the Centrepiece section at the recent 50th Toronto International Film Festival. It also screened at the Telluride Film Festival and is set to be shown at the BFI London Film Festival from October 8-19.
Hamlet, of course, has a long history of film adaptations. Among my personal favourites are Grigori Kozintsev’s 1964 Russian black-and-white version, and Vishal Bhardwaj’s brilliant 2014 adaptation *Haider*, set in Kashmir and starring Shahid Kapoor, Irrfan Khan, Tabu, and Kay Kay Menon with a screenplay by Basharat Peer and Vishal Bhardwaj.
The story is well known to many from school days: Hamlet’s father has passed away, and his mother Gertrude is hastily marrying his uncle Claudius. Hamlet is deeply wounded and outraged. When his father’s ghost (portrayed here by Avijit Dutt) appears and reveals that Claudius murdered him, Hamlet’s anger intensifies. He stages a play that makes it clear to Claudius that he knows the truth. The famous soliloquy “To be or not to be” is featured, alongside his lover Ophelia. By the climax, the body count is very high.
Aneil Karia, who previously directed the feature *Surge* and the Oscar-winning short *The Long Goodbye* (the Oscar was shared with Riz Ahmed, who co-wrote and acted in it), makes a bold move by setting *Hamlet* in contemporary London’s South Asian community. This brings a fresh and vibrant twist: Hamlet wears a kurta; there’s dancing at a shaadi (wedding), with Hamlet’s white (gori mem) lover Ophelia, played by Morfydd Clark, adorned with mehendi on her hands.
In one striking scene, Hamlet’s mother, played by Sheeba Chaddha, speaks to him in Punjabi, while he replies in Shakespearean English. Someone even says, “My Lord, he desires to speak with you.” This creative blend is reminiscent of Baz Luhrmann’s *Romeo + Juliet*, which also threw out the rule books and pulsated with music and modernity.
Karia’s direction focuses on how the Danish prince—a decent man—unravels as he copes with stark betrayals by his own family, exploring the psychological nuances of tragedy. The screenplay is credited to Michael Lesslie, though in interviews Aneil Karia has also acknowledged Riz Ahmed’s input on the script.
Notably, the film excludes characters like Rosencrantz and Guildenstern and Horatio. By situating the story in modern times within a South Asian community, new dimensions emerge. Elsinore Castle transforms into Elsinore Estates, and Claudius, furious at Hamlet for uncovering his guilt, sends goons after the prince. A memorable moment occurs when one such goon, now homeless after being discarded by Hamlet’s real estate tycoon father, spares Hamlet’s life while commenting on the state of the economy, the rise of British Asians, and compassion.
Setting the story within the South Asian community injects kinetic energy and cultural layers. The play within the play is reimagined as a dance at a shaadi—a staple of Indian and British Asian weddings—choreographed stunningly by Akram Khan, a leading British Asian dancer and choreographer.
Riz Ahmed delivers a finely calibrated, astute psychological portrait of Hamlet, capturing the character’s emotional complexity as he unravels. Art Malik excels as the sly Claudius, and Sheeba Chaddha shines as Gertrude, strong as ever.
Cinematographer Stuart Bentley contributes effectively, and together with Karia, they stage the iconic “To be or not to be” soliloquy as Hamlet speeds dangerously in a car at night—heightening tension as we fear a fatal crash might make the question moot. The film’s editing, music, and sound further keep the audience engrossed.
Both Riz Ahmed and Michael Lesslie serve as producers on the film, alongside James Wilson, Allie Moore, and Tommy Oliver. The production companies involved are Left Handed Films, Storyteller Productions, and JW Films.
This adaptation is a strong and welcome addition to the canon of Shakespeare’s works on screen.
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**About the author:**
Meenakshi Shedde is a film curator who has worked with the Toronto, Berlin, and other international festivals for 30 years. She has served as a Cannes Film Festival Jury Member and Golden Globes International Voter. Meenakshi is also a journalist and critic. You can reach her at [email protected].
https://www.mid-day.com/news/opinion/article/hamlet-in-a-kurta-23597226
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