The film “Elsinore,” titled after Hamlet’s castle, opens behind the scenes at London’s National Theatre in 1989. The production of Shakespeare’s tragedy is in disarray: the actor portraying the ghost of Hamlet’s father has forgotten his lines, and Daniel Day-Lewis, the young star playing the title role, storms off stage mid-performance. While viewers may initially suspect the film is a biopic centered on Day-Lewis, the narrative instead shifts its focus to another prominent British actor of the era, Ian Charleson.
Played by Andrew Scott, Charleson was a charismatic figure best known for his role as Eric Liddell in the 1981 Oscar-winning Best Picture “Chariots of Fire.” Despite that early success, the 39-year-old actor found his Hollywood career stalling. He became typecast by the film’s iconic synth score, a fact underscored in the movie by a scene where a taxi driver whistles the tune. Burdened by this association, Charleson struggled to secure serious roles, often finding himself cast in B-movies while attempting to maintain a straight image in a predominantly heterosexual industry.
Although Charleson lived a vibrant gay life in London’s pubs and discos, he kept his sexuality private to protect his professional standing. This tension is highlighted by his fraught relationship with transgressive director Derek Jarman, portrayed by David Dawson, who is furious that Charleson removed his debut film “Jubilee” from his resume.
The story takes a pivotal turn when Charleson, already HIV-positive but refusing AZT treatment, discovers a Kaposi’s sarcoma lesion on his temple. Around the same time, with Day-Lewis having abandoned the production, director Richard Eyre offers the role of Hamlet to Charleson. Having previously played the Prince of Denmark in 1974 at age 25, Charleson now feels ready for the part, despite the immense physical demands of delivering 4,167 lines of dialogue on the Olivier stage.
Written by Stephen Beresford and directed by Simon Stone, “Elsinore” revisits the tragic era of the AIDS epidemic without relying on graphic sensationalism. Instead, it explores the cultural pressure on gay actors to hide their identities for survival and the personal courage required to pursue art in the face of death. Charleson chooses to accept the role not merely as a career opportunity, but as a way to fully inhabit his life and confront mortality through the themes of Shakespeare’s play.
Andrew Scott delivers a layered performance, capturing Charleson’s natural ebullience warring with creeping despair. His dynamic with Dr. Margaret Johnson, played by Olivia Colman, forms the emotional core of the film. A forward-thinking physician, Johnson urges Charleson to prioritize his health, leading to tense but caring exchanges. The most poignant moments arise from his relationship with Jarman, both men navigating their illness and artistry under the shadow of prejudice.
By the film’s conclusion, Charleson uses the role of Hamlet to lay bare his soul, achieving a quiet heroism that defines the narrative. While the film may face challenges in today’s market compared to earlier decades, Scott’s indelible performance ensures it remains a powerful and moving experience.
Andrew Scott is phenomenal. His portrayal of Charleson’s quiet courage feels utterly authentic and deeply moving.
I had no idea about the Derek Jarman feud! The tension between them adds such a complex layer to the story.
It’s fascinating how this film explores the fear of being typecast during the AIDS crisis, rather than just focusing on the illness itself.
Does the film romanticize suffering? I hope it doesn’t gloss over the political failures that made his choices so desperate.