在莎士比亞的《哈姆雷特》劇作中，始終內含一個令現今讀者－尤其是對女性主義熟悉的讀者－所不解的議題，那就是：歌楚德為何會在自己的丈夫去逝後不久就嫁給自己的小叔。正是由於莎翁在劇情中並未對此議題有合理的解釋，所以也讓哈姆雷特與讀者一樣地感到困惑，而使他為了想理解自己母親的行為，終而說出了「弱者，你的名字是女人。」這句流傳數百年的名言。 在2006年，由胡雪樺所執導的中國電影《喜馬拉雅王子》，就是一部改編自莎翁的《哈姆雷特》並就此一議題大做文章的作品，其將莎翁的劇情架構注入了新的詮釋，為皇后令人困惑的改嫁行為解套。 本文旨在分析這部以古代西藏的王子復仇為敘事背景的改編劇，如何藉由對娜姆（相對於莎翁的歌楚德）這個角色所獨創的刻劃，而倒置她原先在莎翁劇作中被視為弱者的角色，加以劇中對其他三位女性角色的描繪，亦相輔相成地改變了原劇的主題及意涵。從這部改編電影反思《哈姆雷特》原著，不僅會讓我們了解到莎翁原劇的微妙手法－若劇中幫歌楚德的行為架構出任何合乎情理的理由，或對歌楚德的角色有更多的詮釋，王子的痛苦與戲劇的張力就會相對削減－同時，也讓我們看到《喜馬拉雅王子》對女性角色的不同詮釋，同樣可以開創出饒富深意的戲劇空間。

One of the most perplexing questions about William Shakespeare's Hamlet from the perspective of modern audiences, especially those who are not unfamiliar with feminist ideas, is why Gertrude has chosen to marry her late husband's brother, Claudius, in such a great haste. In fact, the play's lack of a satisfactory explanation for Gertrude's hasty marriage vexes some audiences just as it does Hamlet. While contemplating in agony about the behavior of his mother, this young prince seeks his own explanation and formulates one of the most famous lines in the play: ”Frailty, thy name is woman.” As an adaptation of Shakespeare's Hamlet, Sherwood Hu's 2006 movie, Prince of the Himalayas, addresses this perplexing question by inventing a reason for the queen's hasty marriage. This paper discusses the new dimension this Chinese adaptation has created for Nanm, equivalent to Shakespeare's Gertrude, which contradicts that famous quote about women's frailty from Hamlet's mouth. It also discusses the dramatic functions of the three other female characters in the movie, which contribute to a sea change in the theme and meaning of the original play. The adaptation reflects an important strategy in Shakespeare's original work: had Shakespeare rationalized Gertrude's actions or had he given her some more character depiction, he would have weakened the cause of the prince's agony and, hence, the dramatic effect of his play. In great contrast to Shakespeare's original play, Prince of the Himalayas creates a new dramatic depth for the queen and the other female characters. This different strategy in Hu's adapted version of Hamlet, well supported by other modifications in plots, generates a fascinating new interpretation with a difference.