Directors\' Presentation of the Ghost

¶ … directors' presentation of the Ghost in three (3) films of Hamlet

Hamlet as seen from three perspectives

William Shakespeare's play Hamlet triggered numerous controversies and influenced a great deal of individuals to provide their own interpretation of the work. Franco Zeffirelli's 1990 motion picture, Gregory Doran's 2009 TV series, and Kenneth Branagh's 1996 film all provide intriguing versions of the play. This paper is going to analyze how each of the directors deals with scenes involving the ghost and to how these particular instances reflect on viewers.

Zeffirelli's version of the play is certainly intriguing and shows Mel Gibson perfectly embodying the character of Prince Hamlet and generally being successful in emphasizing Shakespeare's intention with the storyline. The scene involving Hamlet coming across his father's ghost in Act 1 is meant to provide readers with the opportunity to gain a more complex understanding of the relationship between the two individuals and of Hamlet's temperament. Low key lighting dominates most of this scene and it is obviously meant to emphasize the suspense and the suspicion triggers by his father's ghost. The fact that the scene follows with a side shot of Hamlet further contributes to its absorbing nature and it emphasizes the fact that Hamlet is about to engage in a dangerous and even evil enterprise as he is about to avenge his father's death. Even with the conversation occurring throughout this scene, it appears that the director was more concerned about having filming send the message he was interested in (Cinematic Hamlet: The Films of Olivier, Zeffirelli, Branagh, and Almereyda 119).

Doran's portrayal of the scene involving Hamlet meeting his father's ghost takes on a more modern attitude. While low key lighting also dominates most of this scene, Doran displays the ghost in a more angelic way by using rear lighting with the purpose of shaping his appearance. The fact that the scene uses a low angle also contributes to emphasizing the ghost importance, and, particularly, its power. Hamlet is portrayed from a high angle perspective, this most probably being meant to highlight the fact that he is still a weak and somewhat powerless individual, especially when considering that he is confronted by his father -- a more dominant figure and the individual whom Hamlet associates with the idea of power in general. This is actually a significant trait when considering Doran's version of Hamlet in general, the director concentrated on emphasizing the contrast between two characters by having one appear to be much stronger than the other (Cartmell).

Doran's focus on displaying the contrast between Hamlet and his father's ghost is generally obvious as a result of the fact that he uses light as a main tool to shape the personality of each of the characters. Hamlet's character in this scene is displayed through slow falloff lighting, as the director wanted this individual to seem less authoritative at this point in the motion picture. In contrast, his father's ghost is generally shown in fast falloff lighting, given that he is meant to put across a dramatic and commanding air. Smoke used throughout this scene is also meant to add suspense and to influence viewers to understand that they are witnessing an event that is supernatural.

Branagh's representation of the ghost scene also displays the spirit from a low angle perspective, as the director wanted viewers to comprehend that this is an especially powerful entity, regardless of the fact that it is no longer alive. Branagh employs a technique similar to Doran's when considering that Hamlet is shown from a high angle perspective, as it would be pointless to even try to compare the two characters. Hamlet is still a prince and has not yet reached a position where he can be compared with his father. Smoke is also shown through this scene as Branagh intended it to be regarded as being filled with secrecy.

Some might interpret the parts of the scene involving smoke as being less interesting and as diminishing the scene's importance. However, alongside of the music, the smoke contributes to making the scene even more important and to enable viewers to realize that this particular scene is going to have an influential effect over most of the motion picture. "Critics had to confess that in spite of the film's length, Branagh's Hamlet had flashes of brilliance" (Modern Hamlets and Their Soliloquies 203).

Zeffirelli's scene of the ghost appearing in Gertrude's bedroom further continues to display Hamlet from a high angle while the spirit is in a low angle. The two maintain their roles in their relationship in spite of the fact that Hamlet is very strong as an individual. This makes it possible for viewers to realize that his father maintains his power over Hamlet regardless of his son's achievements. Gertrude's portrayal from a neutral angle is meant to emphasize that the queen feels that there is no spirit present in the room and generally associates an air of normalcy with the woman while highlighting Hamlet's desperate situation.

Similar to Zeffirelli, Doran displays a continuation of the previous relationship between Hamlet and his father's spirit, with the former shown from a high angle and the latter from a low angle. The fact that falloff is slow in this scene does however make it possible for viewers to understand that the spirit is no longer the cruel entity it initially seemed to be. It is probable that Gertrude's presence in the room also contributes to this concept, as she clearly has a strong effect on the ghost and influences it to abandon most of its thoughts.

Branagh concentrates on providing viewers with a dramatic scene while displaying the ghost in Gertrude's bedroom. Hamlet actually appears to be angered at this point, as, unlike the other directors, Branagh apparently wanted this scene to trigger mixed feelings in viewers. By speaking slowly and whispering the spirit wants to highlight its dependence on Hamlet. Even with this, one can still feel its power and can understand that he expects its son to follow its exact commands, regardless of how he feels about it. The director shows Hamlet and the spirit from low angle perspectives, this likely being meant to demonstrate that Hamlet is no longer the individual he was at the time when he initially met his father's spirit. The costume and the make-up further emphasize that the spirit is not as powerful as it initially was, as seems to be more human at this point.