An Unabridged Hamlet

Seeing Hamlet when you’re pushing 50 is different than when you’re in your 20s or 30s, and not just because the whole damn play is arguably about mortality, but I’ll get to that in a minute.

You can tell that every scene in Nuance Theatre’s unabridged Hamlet, which is up for one more weekend through this Saturday, has been worked on and worked on, and I suppose that’s the point of this production: to cover all the “B” scenes that usually get cut by smaller company productions.

There are solid performances all over the place, though they miss one another at times. Since they bring differing styles they rarely seem like they’re reacting to what happened in the previous scene. Each one is rather a clean slate with a well-executed dramatic moment. Consequently the gears aren’t always engaged. If there’s any flaw in the show overall, it’s in the wider direction. The yarn being spun by the playwright rarely feels suspenseful.

Kudos, nonetheless, to this small company for doing the whole play. Scenes I’d previously found filler or “mere set up,” such as Polonius’ advice to his daughter Ophelia in Act One, felt very real this time. $25 for the whole classic, just a block from Times Square.

hamlet

Young love, deadly as it can be, gets eclipsed by its elders’ problems in Hamlet.

When you’re young you read the Hamlet-Horatio or Hamlet-Ophelia scenes carefully, and regard the scenes between the prince and his elders as just that: reasoned limitations that the powers-that-be are placing on your hero’s freedom. Step-dad saying you can’t go to Lebanon for spring break.

As you age – I could say “mature,” but let’s be real – you start seeing Hamlet’s mother Gertrude and his step-dad Claudius, and even clownish old Polonius, as real people with real problems. (Jurgen Jones, who plays Claudius, is a friend of mine; he is at once regal and completely Jurgen.) They are the sun and moon of this show, and arguably of the play itself.

 

 

 

Budweiser’s American Creation Myth

The must-see film this week is the Budweiser commercial from the Superbowl, which was as shrewd and political as it was feel-good and universal. Trumpistas are trying to boycott it, but good luck with that one. That’s like boycotting Christmas cookies because the Pope is soft on Muslims. (It is in fact goofy that Superbowl ads are the arena for our national psyche, but that’s where we are.)

A day and a half after the Superbowl kickoff on Sunday, this ad had almost 27 million views on Youtube, though fifteen or so of them were me.

It starts in a “present” time in the 1800s when two men with German accents, one obviously an experienced capitalist and one a handsome young buck, stand next to one another in a taproom. “You’re not from around here,” the older man observes, and off we go to a thirty-plus second montage that tells his epic journey:

A storm-tossed ship crosses the Atlantic. The young stud is already sketching something obsessive and entrepreneurial.

The ship hits a wave: He hits his head. Gets stitches over his eye. Gets asked (in German) why he is moving to America and answers that he wants to brew beer. The first weird note is that he answers a German question in English, but who cares? It’s as gorgeous as Pelle the Conqueror so far.

Fifteen seconds in, he is told “Welcome to America” by the official stamping his document, immediately followed by a menacing, Know Nothing thug saying, “You’re not wanted here…Go back home.” This is obviously the offending interaction to some, and wow what a bold statement. I like Gaga (more than I like her actual songs), but this is the most political statement of the year. “First kick I took was when I hit the ground,” Springsteen sings in “Born in the USA,” and here it’s “First person who told me to go back home was when I walked off the boat.” Say what you want about the Trumpistas calling for a boycott, but they read this ad correctly. Hold that thought, though.

Fast-forward to a Mississippi riverboat. He’s going upstream with a black companion, still doodling in his sketchbook. Wow! This is where the grad students start rolling out the word “problematic,” but give Anheuser-Busch credit for going deep in the American mind, linking their creation myth to Huckleberry Finn and the mythic fraternity between black and white.

At half-way through the 60-second spot, the riverboat catches fire and he has to jump overboard, and he trudges through tall reeds on a rainy winter day. Talk about reversals! This Budweiser ad is more suspenseful than most independent films.

There’s mud everywhere. “Welcome to Saint Louis, son,” says a perfect stranger, with a picturesque Clydesdale horse in the background.

Back to the present: “Beer for my friend, please,” says the capitalist, and now the narrative slows down. The strapping lad thanks him and shows him what he’s been sketching, and they introduce themselves: “Eberhard Anheuser.” “Adolphus Busch.” End of story/beginning of story. “When nothing stops your dream,” the text reads.

These are men of few words, but when they do speak they’re in a bar buying beers for each other. Though it’s a little odd that Busch was sketching the actual bottle of Bud, label and all, and not an industrial brewing breakthrough – and though I personally would love to taste whatever they were drinking before the inception of Budweiser – by this time you’re more than hooked.

It’s worth noting that of the five interactions young Adolphus Busch has on his journey to America (six if you count the negro he’s obviously cordial with), only one is a nativist. The horse doctor who stitches his eye, the immigration official, and the first person he meets in Saint Louis all welcome him, and the first person he sips a beer with is a fellow immigrant waiting to help him  make his dream come true.

As in most creation myths, this is a guy who answered the call. While associating itself with beards and artisanal entrepreneurs – things the macro-brews have been struggling against – Budweiser is also taking sides against what feels like a temporary flare-up of anti-immigrant feeling. (It certainly feels more temporary than it did on Saturday.) What’s more American than buying a Bud for a fresh-off-the-boat stranger?

Panique

It’s 1947 in a suburban village outside of Paris, and a lonely Jewish photographer named Monsieur Hire (shortened from Hirovitch) patiently endures the gossip and pettiness around him, not seeming to mind his pariah status too much. It’s more a matter of broken-heartedness about his ruined marriage than grief over any recent mass deportation that might have happened, but that implication is certainly in the air too.

Mr. Hire starts taking a special interest in a younger woman who’s recently out of jail, but when a 40-some-year-old neighbor turns up dead in a vacant lot with her purse missing, guess who gets blamed for it?

panique-rialto-poster

That’s Panique, directed by Julien Duvivier, who’s better known for Pépé le Moko, co-written by the Belgian screenwriter Charles Spaak, based on the novel by Georges Simenon.

It’s tempting to compare it to M, or to see some contemporary parallel to literal panic in it, and I’m sure that’s what most critics are seeing when they come across this re-discovered work. As a hunk of nostalgia, though – and who doesn’t want to walk through an old village before Parisian sprawl overhelmed it, and while a carnival is in town no less – it sticks in your craw because it damns the villagers themselves. One of the great themes of post-war literature, the passive wickedness of the upright citizen, was already being written about.

It also clocks in at a spartan 91 minutes, one of the things that makes the scripts of this period so elegant, and still so pleasurable to watch.

You can see the twist at the end coming a kilometer away, and yet that’s beside the point. Duvivier seems to have returned to France after a World War II period spent in Hollywood, with a bit of pith for the simple villagers. He wasn’t humming “The Green, Green Grass of Home,” that’s for sure.