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...
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.
While each of the director prefers to employ a custom perspective with regard to the storyline, it is intriguing to see how they all adopt similar techniques in order to display some of the events in the play. The spirit of Hamlet's father is shown in most cases from a low angle, as all three directors want viewers to understand the power that this individual had both before and after his
death. Similarly, whenever he encounters Hamlet, the spirit appears to hold a special power over him, as each of the directors portray Hamlet from a high angle, obviously meaning to highlight the fact that he is still a father in his father's eyes. Such features make it possible for viewers to comprehend that Shakespeare's
play still has a great effect over individuals wanting to interpret it, even with the fact that they introduce a series of new elements.
Works cited:
Cartmell, Deborah, "A Companion to
Literature, Film and Adaptation," (John Wiley & Sons, 03.08.2012)
"Cinematic Hamlet: The Films of Olivier, Zeffirelli, Branagh, and Almereyda," (Ohio University Press, 29.03.2011)
"Modern Hamlets and Their Soliloquies," (University of Iowa Press, 1992)
Dir. Franco Zeffirelli. Hamlet. (Warner Bros. 1990)
Dir. Gregory Doran. Hamlet. (BBC, 2009)
Dir. Kenneth Branagh. Hamlet. (Columbia Pictures 1996)
