Chris' Corner Videos
Movie commentary
"Hamlet 012"                                                         
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With the release of Chris' Corner Videos "Hamlet 012", a whole conversation opens up about  artistry and
quality in death erotica filmmaking. This movie re-envisions the famous "Closet scene" between Hamlet and
his mother Queen Gertrude, taking it to a place hinted at over the course of 400 years of production of this,
arguably Shakespeare's finest play.

Below are stills from the movie, Chris' B's synopsis, the original screenplay, and comments from some of the
most erudite of sex/death enthusiasts. You are welcome to join in the conversation using the comment box
Chris B's Synopsis for Nicheclips and TPAP:

Starring: Savannah Costello w/ Johnny Wood

Hamlet's Mother Gertrude is in the jacuzzi bath, enjoying her herself while she is alone. She plays
with herself while lathering up her breasts. After a nice long bath she gets out of the tub and slowly
towels off dry. She puts on her black panties, then the bra, and dress, then her high heels. She is
waiting for her son to show up and show her some love. Hamlet has been upset and depressed over
his Father's murder and the fact that his mother did the evil deed, then married his Uncle. He also
has lost a few friends along the way too. He is just a mixed up young man. Hamlet enters his mom's
fancy Hotel Suite where she has been laying low. He has a dagger in hand and a sharp tongue for his
mother. Gertrude asks him why he is in such a bad mood, and has he forgotten about her in the
mean time. She strokes his face and removes her clothing. She then turns to face the large mirror
on the other side of the bed, inviting Hamlet to lay with her, and take her from behind. Hamlet has
his own idea of taking her from behind as he wraps the nylon stocking around his hands stretching
the hosiery thin to make a sharp garrote. As she starts to talk smack, he quickly loops and crosses
the nylon around her neck. She slowly surprises to feel the nylon tighten on her throat. It is not for
fun but for the name of the King. He strangles her in an upright fashion. As she tries to fall he pulls
to straighten her up. Her feet kick and arms grab at the nylon, trying to get a tiny sip of air. She fights
hard, looking so lovely with her long blonde hair and sweet lips swaying and gasping for air, fishing
for a morsel of oxygen.

After a long bout of strangle with lots of twitching gurgling and choking, Hamlet finishes the job and
as the last push of air vacates the lungs, and he knows she is gone, he gives her a small nudge. She
slowly falls face forward into the bed, dead as her former husband. Hamlet removes her panties and
pulls her toward the edge of the bed. Now he can take her from behind, in his own way. He enters
her and starts to slowly pump her. He then flips her on to her back and her breasts bounce up and
down as he starts to build speed, slamming her good to get his fill. He finishes inside her and
dismounts. He says his final peace, stroking her hair with the dagger, then he walks to the other end
of the bed and plants a kiss on her forehead and exits through the back door.


Othello's Screenplay for "Hamlet 012"

The film is based on the classic Shakespeare scene with Prince Hamlet and his dangerously sensual
mother Gertrude. (For centuries producers of the play have explored this relationship and the
passionate Queen’s attraction toward Hamlet – a “forbidden love”, if there ever was one. In one of
the movie versions, Mel Gibson plays Hamlet and Glenn Close is Gertrude, and their scene is fierce,
sensual and fiery. He comes right to edge of either killing her or having sex with her). In this playing
of the scene he will do both.

The backstory of Hamlet is that Hamlet’s uncle murdered the King and married the Queen, and there
is innuendo that Queen Gertrude arranged this, so that she could in turn incite Hamlet to kill the
new King, thus leaving her in charge of everything, and possessing the sensual Hamlet as well. So
in a way, she is a classic “bad girl”.

This film can be done in modern dress, but nice-looking clothes if possible, for a classy, artsy look. A
white shirt and slacks for Hamlet perhaps, and an attractive dress for Gertrude (though she won’t be
wearing it for long).

The scene opens after Hamlet has staged a play-within-a-play (Not shown in this custom but simply
implied by their conversation) that demonstrates to the King and Queen that he knows about the
murder that has put them in power. Afterward he comes to the Queen’s bedroom to confront her.

Scene opens with Hamlet coming into Gertrude’s bedroom. She is standing near her bed partially
unclothed, perhaps slipping out of her dress. When she has removed her dress, she arranges
herself on her bed wearing only her lingerie.

GERTRUDE: (In an arrogant, but slightly amused manner)
Hamlet, thou hast thy father much offended.

Hamlet is visibly angry. From behind his back he takes a dagger, and shows it to her.

Mother, you have my father much offended.

GERTRUDE: (She is not impressed with the sight of the dagger. She sneers.) Come, come, you answer
with an idle tongue.

HAMLET: Go, go, you question with a wicked tongue.

Gertrude shakes her head slightly, gives him a sexy look. She starts to take off her nylon stockings,
leaving them on the bed as she speaks.

Have you forgot me?

HAMLET: No. You are the Queen.

Gertrude now takes off her bra, and topless, she smiles at him.

What have I done that thou dare wag thy tongue in noise so rude against me?

Overcome by her steamy sexuality, Hamlet sets the dagger down and comes to her. She touches his
face, caresses him, smiling wickedly. He picks up and fondles one of her discarded nylons.

A bloody deed – almost as bad, good mother, as kill a king and marry with his brother.

Gertrude smiles with obvious evil pleasure. She turns around so her back is to him, kneeling upright
on the bed. He stands behind her and touches her hair, her shoulders, then her neck. Out of her
sight, he winds the nylon around both of his hands and stretches it out.

Gertrude begins to speak.

Ay, me, what act, that roars so loud…

Before she can finish, he whips the nylon around her neck and strangles her. The whole strangle
takes place with her upright on her knees on the bed.  When she is dead, she stays upright until he
nudges her to topple her over on her face.

HAMLET: (Looking at her body face down on the bed)
Dead, for a ducat, dead.
NOTE: The word ducat is pronounced duck-it.

He then opens his pants and has postmortem sex with her body on the bed. Taking her from behind
at first, then flipping her over and taking her face up, her eyes wide and mouth open.

After he climaxes, he goes and picks up his dagger, uses the tip to play with her hair for a moment,
and gives her a farewell kiss.

Thus bad begins, and worse remains behind.

He leaves her face up, a ligature line on her throat, her eyes wide and staring.

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Comment from: Othello
Date: February 25, 2012

Appropriate indeed that this film would appear in the week when so much
discussion is going on about "quality of production" in death erotica films.
Quite a quantum leap from the "Ooo, you got me in the bellybutton" dialogue
(so universally teased when discussing poor scripts in the genre), to "Come,
come, you answer with an idle tongue..." in this version of Hamlet's famous and
always-controversial "closet scene".

The concept of this genre being worthy of the complexity and richness of
Shakespeare is a pretty radical one. And it would certainly crash and burn in
lesser hands. But this film is lush with elegance and style. Savannah is simply
magnificent in the role of Hamlet's exceedingly sexy mother (a role played with
various degrees of sensuality by the likes of Glenn Close and Julie Christie). A
bad girl for the ages. The modern dress is nicely done (reminiscent of the 2000
Almerayda big screen modern version of Hamlet), and the framing of scenes
reflected in mirrors echoes Branagh's richly-mirrored scenes in his 1996

The editing is tight, the camera work strong -- I mean, can you imagine? An NC-
17 feature film; an edgy, serious and sexual "Hamlet"? That's what this film
seems like a selected scene from.

You want artistic quality mixed with your sex and death? I'm impressed with
how much conviction Chris B. brings to that concept.

And in a genre flooded with so many seemingly just post-teenage "girls", the
vision of a woman as glorious, as beautiful as Savannah, here in a mature role,
is quite a revelation.

This film was indeed a custom, and one that to my mind, when I wrote it, was
rife with possibility, but also very dangerous in the sense that if done poorly, it
would condemn quality in this genre more than celebrate it. I could not have
been happier with the result in Chris' hands. Remarkable, cutting-edge
death/sex erotica IS possible.

Comment from: Sam/Manoir
Date: February 25, 2012

It takes a lot to get me to write a review but  WOW do I love 'Hamlet 2012,'
Snapped it up off TPAP based on the stills and was rewarded by  fine acting by
one of the best, in exquisite color & sound, and with some of Chris's best
camera work. For all this at once, along with manifold praise to Savannah,
heartfelt compliments to Othello, too! I'd love to see the relevant scene of his
namesake play done in like manner, including the often-overlooked stabbing of
Emilia, and there's a few other sex-soaked Elizabethan killings: 'Titus
Andronicus' and Romeo and Juliet come to mind, the latter maybe with two
females, like 'Rosamund and Juliet.' And there's Webster's 'Duchess of Malfi,'
and, when we get to the Jacobeans, 'The Second Maiden's Tragedy'...  Not to get
carried away, just good to see Chris is keeping up the fine, hot work! Thanks!
Interestingly, there's a 1969 film version of Hamlet by Nicol Williamson, with
Marianne Faithfull as Ophelia, where the play is made to make excellent sense
by making the theme incest, not just the two brothers marrying Gertrude but
between Hamlet and Gertrude, with a bedroom scene that except for no fatality
is a lot like this one here, but also between Laertes and Ophelia and Ophelia
and Polonius, which explains why she goes so crazy. In fact, incest as an
engine makes the whole play work and this mother-son strangulation works as
both art and erotica too.

As a sidelight, for the hottest Ophelia mad  scene ever, check out Mariah Gale's
over-the-moon rendition of every word:

Part 1

Part 2

Comment from: Othello
Date: February 25, 2012

Sam, I was so delighted to see your comment and review for "Hamlet 012". You
are one of the most perceptive, insightful "philosophers of death" in our
community, and in many ways this film was aimed right at you, and others
among us who would love to see the death/sex erotica genre come of age as a
legitimate art form.

This scene from Hamlet has been loaded with highly-charged sexuality in
version after version...and it was both challenging and satisfying to streamline
it down to the core elements of the oft-implied sexual relationship between
Hamlet and Gertrude. As the motivating force behind the madness and murder
in Elsinore, I've always found it compelling.

As you can see from the script above (which excises Polonius from the original
"closet scene" of course, and retains select parts of the original
Shakespearean conversation between Hamlet and Gertrude), Chris was
remarkably true to the vision of the piece. Honestly, I don't think there is
anyone out there who could have produced it more perfectly. The production
values here are as high as I have ever seen in the genre, from the lighting and
staging, camera-work (not easy to work with mirrors!), the music, editing, and
of course the acting.

And how can anyone say enough about Savannah? Magnificent truly describes
her, and her elegant, dangerous sexuality in this piece. I proposed this film to
Chris because I knew he was going to be filming with her -- there was no
second choice in my mind for this part. She is nuanced and brilliant in her
acting, and beautiful beyond words.

Oh and Sam, I love the Nicol Williamson "Hamlet" that you reference -- one of
the boldest and clearest movie versions I have ever seen. And thank you for the
links to Mariah Gale's Ophelia about intense!

Loved also your list of other possibilities for Elizabethan sex and death
adaptations...I like the way you think. Without saying too much more...stay


Comment from: Grace X
Date: February 26, 2012

Well now, this is a pretty exciting conversation. You know how in my reviews
here I am always harping on story quality, acting, etc. Chris I think rarely has
production flaws in his stuff, but when they appear I rag on him for that too.
Maybe too much, I know. I mean I understand what he is dealing with to run his
business day to day. Filming stuff in an hour...dealing with "actors" who are
often really just young model/porn stars and from what I gather are half the
time total flakes...squeezing what he can out of zero budgets. I get it.

But when I see movies like this Hamlet, I gotta tell you, it's impressive.

I mean, I wouldn't want to see everyone do Shakespeare all the time...I love my
spies and assassins and terrorists, lol...but the standard you set with films like
this does indeed make my mouth water. It seems like this to me, Chris, tell me if
I'm wrong. I think you always strive for quality, but you gotta be realistic, too.
You're not going to make a lot of the girls and guys you work with into Meryl
Streep and Robert DiNiro. Some days you just ad lib film ideas and have fun
with the fetish, making, let's face it, sexy pulp fiction. But when you have an
actor of the quality of Savannah (who truly is awesome in this film!) and a
writer like Othello, and a great set (from your posts I gather this was done at the
Rainforest Studios property), you really bring your A game, and show us work
like this.

I'm further impressed reading the script how well you and Othello mesh. I mean,
look at how spare that script is! He doesn't give you micro-instructions, and
when you interpret the scenes, you do it with amazing subtlety and style. I
mean, look at the scene in the movie when Hamlet gives his "kill a king and
marry with his brother" that moment the camera catches Savannah
looking as if she senses a real danger building in the boy...she doesn't say a
word for a moment, but her expression tells volumes. Then she smiles like she
knows she's got this under control, and starts to bitch at him with the "ay,
me..." line before he finally cracks and strangles her. Wow that is acting! And
that is direction, too. Chris, you make it all work at an incredibly high level.

Othello and Sam I think your comments are great. You know I love this fetish it
is still a revelation to me after SO MANY years of trying to eke out death fetish
pleasure from occasional scenes in mainstream movies and detective
magazines, that I can see movies like this made at all. I know they can't be all to
this standard, Chris has bills to pay and he has to be coping with stuff we can
barely imagine to get these films made. He does a lot making silk purses out of
sows' ears so to speak. But when he has real silk to work with, man does he
ever shine.

Comment from: Moon Shiner
Date: February 26, 2012

In the common desire, to bring this art form into general acceptance, I propose
the creative minds assembled here, suggest a name.  A clever short easily
remembered, a name that suggests art, quality and uniqueness.  I would
recommend that the words, Death and Fetish, not be used.  Marketing and
presentation becomes very important, in public advertising.  A term acceptable
on any forum, maybe even a acronym that would be descriptive but clean.

Put your thinking caps on, let me hear some suggestions.  Classy, intelligent
names, that suggest Artistic quality works, both in film and stories.

Othello's phrase, Death Erotica, previously mentioned above, is certainly better
than Death Fetish, perhaps we could change the word death, to Lamort, LaMort
Erotica, just to make my intent.

A few suggestions.

Erotic Horror

Demise Artistica

Your thoughts?

Thanks for listening.

Comment from: Nastassja
Date: February 26, 2012

I'm not a big follower of the films on this site (though I know that is your main
business) -- I'm really drawn to the literary work you present here. So I come
every week to read the stories you have posted, particularly those by Hitomi,
who is a remarkable author. But while I was on your site directory to see if she
had posted anything new (which she had!)...I also saw this thread.

I love Shakespeare, and love Hamlet above all. I have a huge Riverside
Shakespeare by my bed, and read it constantly (I write notes in the margins
about my thoughts, and I also write articles about the Bard -- none published,
alas. But that's okay, I'm a reader, not a writer, and happy to be).

I'm going to be honest, and really I mean no insult, but the video side of
death/sex fetishism (I understand why you don't like that word, Moon Shiner,
but I'll use it here for the sake of discussion) has never done much for me. I see
them as, well, masturbation movies. Devoid of artistry for the most part, meant
to display a sexy woman being killed for the sexual stimulation of the viewer.
I'm not condemning this. I actually find it fascinating, and I understand that it is
just fantasy, and the actual actors are treated well, with care and consideration
for their safety and boundaries. But is that art? To my mind only marginally.
Again, not a put down. I don't think of breezy movie comedies as art either, and I
know it is important and necessary to laugh. In the same sense sexual release
and satisfaction is also important and necessary, and so these films serve a
valuable purpose.

But again, honestly, if someone was to look at the files on my computer and saw
one of your standard films there, I would feel embarrassment. The few I have
tried I have promptly deleted afterward.

When I saw your Hamlet movie and read this page, I bought a copy. And I have
no intention of deleting it. This, gentlemen, is art. The quality of the filming and
acting is impeccable, and the sexual content (including the murder) is
psychologically and artistically powerful. I could see this film going viral among
Shakespeare enthusiasts, as a genuine addition to the canon. The prudes
would probably decry it, but I'm no prude. To explore the sexual/motivational
roots of one of literary history's most fascinating relationships is
groundbreaking material. It's daring, and I applaud you.

Hamlet's mother is a character that has been portrayed in almost every
perspective possible, from an innocent victim to a calculating woman of
monstrous proportion. I have always thought of her as guilty in manipulating
the court of Elsinore to further her Oedipal desires for her son, and his anger
and confusion over this, mixed with desire of his own, is the stuff of classic
exploration of the human psyche. To take it here to the conclusion you have,
was stirring, and played on my own dark sexual side with a kind of power I
never expected. Congratulations.

Aside to Sam: I may have asked you this before over on Kelli's blog,  but are you
a writer? If so, is there somewhere online I could read your work?


Comment from: Othello
Date: February 26, 2012

What a great conversation!

Grace, I think you're right to point out the limitations that Chris works under; I
would be interested some time in hearing him describe a typical week of
filming. Given that we see two or three releases a week from Chris' Corner and
Taboo, I have to guess that it is nonstop, and loaded with unexpected pitfalls
and problems every inch of the way. His talent as a filmmaker can't be denied.
When I see a production like Hamlet, I truly wonder what it would be like if his
workload, budget, etc. allowed him to put this kind of artistry and craftsmanship
into every one of his features. And you know, as much as I love seeing a classic
work like Hamlet done, I wouldn't want the genre to become all Merchant/Ivory
either (not that there's much chance of that happening!). The pulp fiction fun
that you describe is very enjoyable, at least to me. What I would love of course
is a balance. Grindhouse right alongside Arthouse. Shoot-em-ups and mayhem
sometimes, romance other times. I think Chris actually achieves this more than
just about any producer out there, but we could still have more diversity across
the board.

Moon Shiner, I like your idea about redefining the labels for this type of film
(and writing too). Other mediums, when they have decided to expand into an
audience that wants depth and quality in storytelling, have done similar things.
The XXX porno industry, once reviled for its mindlessness, became "adult film",
and though it has a long way to go, actually has produced movies that are
intelligent, well-acted, and produced with style. Remember when "graphic
novels" used to be just "comic books"? Well, as their audience demographic
aged and became more discerning, they took on stronger story themes, adult
concepts, and aspired (successfully, in many cases) to become a legitimate
branch of literature. As to your ideas for a name, I dislike "death fetish" too, as
it puts us out on a kinky fringe (hmmm, of course we ARE out on a kinky
fringe) own use of "death erotica" is an attempt to brand these creations
in a more artistic light, but even that is a flawed label. I know JohnM and some
other producers have embraced "erotic horror", but to me that pigeonholes us
with sex/slasher fare...actually only a small percentage of the films being
produced are horror per se, and we want to broaden that image, not narrow it. I
like "demise artistica" a lot! Or "demise erotica", if we want to be clear about
the element of sexuality. "Erotica Noir" appeals to me too. I'll be interested to
hear what others come up with!

Nastassja, your comment absolutely fascinated me. You are coming at this from
a different angle than many of us, and your thoughts were, I thought, insightful
and profound. In a way, writing a Hamlet-themed piece came with immense
advantages: the deeper themes of the play are well known to all, so I didn't have
to establish them to all be presented in a 20-minute film. Much can be
perceived "behind the scenes" for anyone familiar with the play. It is so
gratifying to think that you consider this film a worthy addition to the centuries
of the Shakespeare canon. That, coming from someone as obviously well-read
as you are, truly made my day. I hope that over time, I may contribute more to
the genre of "dark sexuality", as you so aptly put it, that you will also be
unembarrassed to have in the files of your computer. Thank you so much for
your insights.


Comment from: Nastassja
Date: March 5, 2012

Thank you for your response, Othello. Re-reading my comment, I had to smile a
bit at myself at some irony in it. It’s true that I am more attracted to the literary
side rather than the movie side of what Chris presents here on this site, and of
course the original “Hamlet” is a play (the “movie” of its time). But the fact
remains that your Hamlet film is the first in this genre that has really “gotten
under my skin”. I’m actually somewhat obsessed with it, watching it over and
over, and I have to admit getting a great deal of erotic pleasure from it. Now I
know I am not the target demographic for this genre. My appreciation for your
Hamlet has in no way increased my interest in death and sex films with titles
that have endless simple variations on a “screw her and kill her” theme. But
this film in particular did successfully open a window into the dark sexuality I
mentioned above (and you validate in your comment back to me, Othello).

The fact is, I’m enjoying my obsessive sexual interest in this film, and where
else am I going to get to talk about that other than here? Yes, it feels like a
guilty pleasure, though the quality and literate roots of your Hamlet take away
that guilt to a large degree. Reading the thoughts and drives of the women who
contribute to this site (Kelli, Hitomi, Grace), they seem mostly to derive their
pleasure through identification with the women who die fantasy deaths in an
erotic way here. For me, watching your Hamlet, I get intense erotic satisfaction
watching Queen Gertrude strangled and taken sexually, but not because I am
putting myself into her body. If  I’m honest, it’s because it is satisfying to watch
a physically “perfect” woman (and Savannah is that), who uses that physical
perfection to manipulate and control, being sexually murdered. I am no “babe”
myself, I have no illusions about that, and I’ve had my share of frustration that
women with beauty like Savannah’s (and the intensity of that is only increased
by her playing a classical role, that has my intellectual respect) are objects of
desire, while my chief attribute (my mind), seems to intimidate men more than
attract them. Of course even that’s a paradox, since I would never want to be
with a man sexually – even fantasy sex -- who didn’t want to experience the
intensity of my mind. But when I see Gertrude in your film go through the
throes of strangulation, when I see Hamlet drag her dead body toward him for
sex, I feel a sexual fever of my own as an observer. I like to imagine that he is
doing this for me, to show me (and the character of Hamlet is one of my literary
icons of intelligence) that manipulation by a “perfect” woman doesn’t work,
that it has no power, and in fact may have unexpected consequences.  My own
“revenge fantasy”, I guess, made all the more perfect by the fact that “Hamlet”
is history’s greatest “revenge play”.

In a way I think of these as unworthy thoughts and fantasies on my part. But I
can’t deny their power over me. To think that this kind of dark sexual
fulfillment has been achieved by a genre I previously was quick to dismiss, is a
testament to the creative power Chris and Othello (as well as Savannah and
Johnny) brought to this production. I realize I’ve gone on and on with this
comment, but I do congratulate your artistic and visceral success in making
this film.

Comment from: Othello
Date: March 6, 2012

Nastassja, when I write something (and I'm sure Chris feels the same way about
his films), the hope, which I think we share with all creative people, is that what
we make will reach someone in a meaningful way. I can't tell you how gratifying
it is to hear your thoughts, which go deep into the places of the mind that this
film was meant to reach.

There is nothing unworthy about experiencing fantasy sensations that give you
pleasure, even if you perceive them to come from a place in you that is
hardened or hurt or frustrated. Sometimes that is the best, most powerful place
for fantasies that involve sexuality to come from. I've always felt that sex is
powerfully linked in all of us to images and feelings about our personal power
as individuals, and how we relate to others. For you to feel sensual pleasure
while viewing the erotic death of Gertrude in this film is tapping into the vitality
of the sex/power dynamic that each of us possesses; for fantasy, in the form of
this film's story and characters, to take you there is what creativity is all about.

When I wrote this screenplay, I certainly didn't envision it stirring feelings of
sexual power in exactly the way that you describe it giving you. For myself, I
wanted to break through some of the reticence that even the most beautifully
written works (and Hamlet certainly is that) sometimes have about plunging
right into the heart of dark places like obsessive sexuality and dark desire.
Hamlet's anger and attraction toward his mother, and her equally unbalanced
feeling toward him, have been the stuff of conjecture for centuries. So to look
it right in the face was appealing to me artistically -- instead of Hamlet toying
with the idea of murdering or having sex with her, we see it acted out before
our eyes, and that sight is visceral and to my mind intensely erotic. For you to
feel it as a kind of sexual vindication of the beauty and desirability of your mind
-- as opposed to the manipulative physical beauty that Gertrude uses and which
ultimately betrays her -- is really beautiful...hardly unworthy.

As to the beauty of the mind, I don't feel the mind and body can ever truly be
separated. That makes you very attractive indeed, inside and out. And if the
men you have shared that with have failed to appreciate it, then they are
missing out on something quite transcendent.

Comment from: Astrokill
Date: March 23, 2012

I'm late to the game, how about calling this:

la mort érotique


Comment from: Othello
Date: March 28, 2012

I like the elegant sound of your French la mort érotique, Astrokill. Some really
great suggestions for a classy way to brand this genre have been brought up
here! I think that is long overdue -- the artistry that this type of film can achieve
has certainly been demonstrated by Chris, and I would love to see that respect
and enjoyment of this unique art form grow.

Your fine writing contributes immensely to that, Astrokill. You are
unquestionably one of the most gifted scriptwriters in the field.


Comment from: Mr. Wood
Date: March 28, 2012

First off I just want to say it was true honor to be able to act in this custom clip.
It was one of the best scripts I have the pleasure of acting in, sadly my acting is
less then desirable and I didn't do Othello or Shakespeare justice. With that
being said Othello scripts has pushed me to become a better actor for future

Second it was great story and one of the hottest film I have been apart of. I look
forward to being able to be part of future productions. Chris has a great ability
to make wonderful production and feel very blessed to be apart of his work, and
I'm excited to see what comes next down the line in the future.

Comment from: Othello
Date: March 28, 2012

You are too modest, Mr. Wood! When I wrote this script, I knew that the quality
of the film would hinge not only on Savannah in the role of Gertrude (and she
is truly amazing), but on the Hamlet role as well. You did a splendid job! Your
emotions were very believable, and added the character shading that makes for
the most passionate films. Your part, taken in the larger context of its source (a
scene that has riveted audiences for over 400 years), called for a broad range
of emotions, which you in this condensed version of the scene had to convey
not only with dialogue, but with expression and body language. Confusion,
anger, a desperate form of attraction, all coming together in a murderous
sexual frenzy...and finally a kind of cool sadness in the aftermath. You brought
every one of those emotions to the character. Shakespeare is not easy to
perform convincingly (I know, having played Hamlet myself), and your work in
the role was a huge part of this becoming, to my mind, one of Chris' finest films.

Bravo! And perhaps you will be appearing in some of the other classics Chris
will be presenting? I would be delighted to see you in such a challenging role

And it's great to see you here commenting on the site! I find it fascinating to
hear the actor's side of the experience. I hope you will be back to share your
thoughts here again.

Comment from: egeek
Date: June 22, 2012

I'm not into Shakespeare. Modernized or otherwise. But will say that after the
combined viewing of the screencaps and the script along with it. That it looks
sexy. Has a taboo feel to it. With a ironic death attached to it.


Comment from: Othello
Date: June 23, 2012

Thanks, egeek....yes, definitely a taboo scene in the Shakespeare canon...
Hamlet's conflicted attraction to his mother (and vice versa) has been
approached from so many angles over the centuries. I think Chris' take on it  in
this film is indeed bold and of my all-time favorites of his productions
(of course the presence of the legendary Savannah Costello in the role of
Queen Gertrude makes it sexy indeed...)

Click HERE to read more about "Hamlet 012" or to purchase and download this film on Nicheclips.