Scarlet review: Mamoru Hosodas latest is the craziest Hamlet adaptation youll ever see
If the first five minutes of Scarlet had been the entire movie, I would have been happy.
In these opening moments, director Mamoru Hosoda (Belle) transports viewers to a fantastic realm, one where the past and future intertwine. Here, a red-haired young woman wanders a desert wasteland filled with discarded armor and slow-creeping magma flows. The clouds in the sky above ripple like ocean waves. A gargantuan dragon swims through the air, leaving crackles of lightning in its wake.
The scene is disorienting and dazzling in equal measure, especially as Hosoda toggles between the desert and a glowing, liminal space where the young woman wears not the cloaked garb of a hardened wasteland survivor, but the brilliant white gown of a princess. It's while wearing this gown that the young woman remembers who she is and why she's in the desert. At that point, Scarlet goes from fascinating fantasy to an absolutely gonzo epic.
That's because the woman's memories reveal that Scarlet isn't solely a surreal fantasy tale. It's also an adaptation of Hamlet. And while a high-concept, animated adaptation of Hamlet can be great — look no further than The Lion King for proof — Scarlet mostly chafes strangely against its source material. The result is a film that's confounding in its adaptation ambitions, yet still manages to be showstopping.
How does Scarlet tie to Hamlet?
The young woman we first meet in the wasteland is Scarlet (voiced by Mana Ashida), the princess of Denmark. As a young child, she witnessed her Uncle Claudius (voiced by Kôji Yakusho) commit a violent coup against her father (voiced by Masachika Ichimura), executing him right in front of her. (A far cry from Hamlet's Claudius stealthily slipping poison in the king's ear.)
That Scarlet's take on Claudius has him so obviously and visibly responsible for her father's murder means that Scarlet doesn't have to pull from Hamlet's bag of tricks to assess her uncle's guilt. No pretending to be mad or putting on calculated plays for her! Instead, she jumps straight into battle training to take Claudius down. Unfortunately for her, Claudius is two steps ahead and simply has her killed.
But death is not the end for Scarlet like it is for Hamlet. She awakens in the Otherworld, the strange afterlife on display in Scarlet's first scenes. Since the past and future are one in the Otherworld, every dead soul winds up here — including Claudius'. Now, Scarlet has one more chance at vengeance, but even the afterlife comes with peril. Die here, and you vanish into nothingness. And with armies of dead soldiers and Claudius' henchmen standing between her and her goal, Scarlet will have to accomplish the impossible if she is to see her goal through to the end.
Why is Scarlet even an adaptation of Hamlet in the first place?
From here, Scarlet essentially becomes several different movies. It's partly a fantasy adventure in which Scarlet must fight hordes of soldiers from various time periods. The action sequences are riveting: just the right amount of brutal, while pushing Scarlet's considerable prowess to its limits.
Scarlet is also partly an anti-war treatise, with heaps of pro-immigration and pro-refugee messaging. The former manifests itself in the arrival of Hijiri (voiced by Masaki Okada), a present-day nurse who wants nothing more than to heal the suffering citizens of the Otherworld. He's staunchly anti-conflict, a counterpoint to Scarlet's bloodthirsty nature.
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Scarlet's nature is echoed in the rest of the war-torn Otherworld, which runs rampant with bandits preying on caravans of innocent souls simply trying to make it to Eternity. That promised heaven lies at the top of a mountain range, but Claudius has set up shop in a nearby fortress and walled off the path to Eternity from the Otherworld's masses. The wall imagery draws a clear parallel to current anti-immigration and anti-refugee policies, echoing Trumpian philosophies of exclusion. Subtlety, thy name isn't Hosoda.
The pairing of these big, if simplistic, ideas with Scarlet's Otherworld odyssey is already a lot to take in, and that's without the Hamlet adaptation element. Following Scarlet's death, the story ceases to become the Hamlet you know. Yet Hosoda still puts twists on familiar Hamlet elements. Scarlet must face down minor Hamlet characters like Cornelius (voiced by Yutaka Matsushige) and Voltemand (voiced by Kôtarô Yoshida), with Hosoda turning these bit parts into video game mini-bosses. (Shakespeare's major female characters get far less to do: Ophelia is entirely absent, and Queen Gertrude steals the show in one scene only to disappear otherwise.) Characters regularly speak in lines from the play, prompting me to jolt up and gasp at the screen like a Marvel fan spotting a key Easter egg in an MCU movie.
Then of course, there's the death of it all. As a character, Hamlet is fascinated by death, hence his classic query of "to be, or not to be." Scarlet strands its Hamlet stand-in in death, causing her to fight past the bounds of her own mortality. It's an interesting juxtaposition, yet one Scarlet rarely ponders. Instead, it focuses on Scarlet's choice between vengeance or breaking the cycle of violence. At that point, all the Hamlet references begin to feel more like window dressing than story elements with deeper thematic resonance, and Scarlet's cohesion suffers wildly as a result.
Scarlet is still a gorgeous, unforgettable ride.
With all these moving pieces, there's no doubt that Scarlet is as maximalist as can be. And that level of boldness, of throwing everything at the wall and hoping it sticks, makes even Scarlet's most bizarre moments exciting. Sure, "Hamlet, but make it warrior princess" doesn't completely hold together over the course of Scarlet's two-hour runtime, but it is undeniably thrilling to watch something so unexpected play out.
Where Scarlet excels the most is the world-building of the Otherworld, which Hosoda renders in an intriguing blend of 3D and 2D animation. At times, the mixture of 2D facial expressions against a more photorealistic 3D landscape can be jarring, yet the effect only adds to the strangeness of the Otherworld.
The Otherworld offers up a rich background where Scarlet and Hijiri's quest can unfold. Its inhabitants come from a blend of cultures and time periods, creating a wonderful aesthetic clash. Elsewhere, small details in the landscape, like a quarry full of cairns, speak to the many, many dead souls who've passed through.
However, the true standout of the Otherworld is its dragon, a massive beast whose hide is peppered with the weapons of those who have tried to slay it. It roars into view during scenes of carnage, bringing earth-shattering lightning and thunder along with it. The dragon's fearsome appearance, combined with composer Taisei Iwasaki's thrumming score, makes for an unforgettable theatrical viewing experience. Truly, I felt like I was levitating out of my seat.
Now, does Scarlet ever dive deeper into the lore around the dragon, or its role in the Otherworld? Not really. But did I care? Not that much!
That mentality sums up the best way to approach Scarlet as a whole. There's no doubting it's messy, but there's also no doubting its capacity to astonish.
Scarlet was reviewed out of the New York Film Festival. It hits theaters Dec. 12.
