The trailer and print ads for Andrew Fleming’s Hamlet 2 focus on its
ridiculous premise and sense of the absurd, both of which are taken to
wonderfully humorous heights, or depths, depending on your point of view.
The film is, at times, outrageous, silly and downright crude. But what
makes it worthwhile is Fleming’s love of the theater and the
opportunity it provides for free expression and emotional catharsis for
both the performers and the audience. The driving force behind the sequel
to the Bard’s most famous work is outlandish, but the effect it has
on those who see it cannot be denied as this ribald high school musical not
only allows many of its performers to come to terms with their personal
demons but reminds us of the power of art itself.
To say that Dana Marschz (Steve Coogan) is at the end
of his rope is an understatement on par with stating that the Titanic had
an accident. Reduced to teaching drama in Phoenix, where all dreams go to
die according to the film, his threadbare program is on the verge of being
canceled. It’s no wonder as its productions consist of adaptations of
popular films written by Marschz, his “Erin Brockovich” being
the latest debacle. Not only is he about to lose his job, but his
wife’s (Catherine Keener) losing interest in him, it looks like he
may be impotent and they’ve been forced to take in a roommate (David
Arquette) who may be a mute. Spurred on by the drama critic for the high
school newspaper who savages all of his plays, Marschz writes his magnum
opus, Hamlet 2 which
involves time travel, its main character encountering Jesus Christ and
taking him in as an ally and features snappy tunes like, “Raped in
the Face.” On paper, it’s a disaster, but the misfit students
in the teacher’s class recognize its edgy appeal and embrace it. Not
surprisingly, members of the local school board have a different reaction.
This film could have jumped the tracks at any moment,
but Coogan’s willingness to go to the edge keeps us engaged
throughout. This comic can do silly in his sleep but he makes Marschz
someone we care for by tapping into his vulnerability and his desire to
express himself. Though he’s a horrible writer and actor, he knows
the power of artistic expression and it’s his devotion to it as well
as his willingness to instill it in his students that make him sympathetic.
Without question, the film is one of the funniest of the year, as
Marschz’s trials with his students, his attempt to deal with his
insecurities, and the play itself, with allusions to Flashdance,Star Wars and songs like
“Rock Me Sexy Jesus” all produce rich, humorous moments. But
it’s Coogan’s inspired lunacy that makes us laugh and his heart
that makes us care.
Through the debacle that is Hamlet 2, Marschz and others are
able to lay to rest painful memories from their past and move on towards
living a more healthy life. This is the purpose of all art and Fleming
reminds us of this with a film that pushes the boundaries of good taste but
embraces the forum in which that’s possible. Like the play it
contains, there is more to this movie than initially meets the eye.
This article appears in Aug 21-27, 2008.
