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Earlier, she tells her father that Hamlet ‘hath given countenance to his speech / With almost all the holy vows of heaven’ (1.4.113-4). Branagh’s choice to show specifically this type of relationship, rather than maintain the ambiguity present in the play, serves to highlight the difficult position Ophelia is placed in. It is ironic because both her father and brother warned her to keep away from Hamlet in order to keep her maidenhead and dignity (with implications that her brother in particular is a hypocrite), but she has already entered into a sexual relationship with Hamlet at this point. The lines ‘O Dear Ophelia, I am ill at these numbers / Adieu’ (2.2.120-3) are played in a voice-over by Hamlet and the emphasis has shifted from purely Hamlet’s affection for Ophelia to Ophelia’s mutual affection for Hamlet and her struggle to obey her father’s orders to stay away from Hamlet. Another notable change is the inclusion of a flashback scene where Hamlet is bare-chested, and the implication is that Ophelia and Hamlet have a sexual relationship, and they are also in love. The way she reads her lines and her figure behavior strongly suggests to viewers the tragedy of her father’s disapproval of Hamlet courting her. Thus the tone of the scene changes from comedic to tragicomic with the inclusion of Ophelia. This makes the scene more powerful as Ophelia is seen to read the letter haltingly, word-by-word, and with difficulty as it reminds her of the relationship with Hamlet she has given up because of her father’s caution. The dialogue has been switched from Polonius to Ophelia. He shifts the focus from Polonius to Ophelia in the scene, as she appears on-screen and reads the first lines of the letter, ‘To the celestial and my soul’s idol / In her excellent white bosom’ (2.2.110-3), before running off-screen in tears. He is much funnier than when reading him haha.)īut Branagh completely changes the tone of the scene and its character focus. (Side note: Polonius is hilarious when performed. The scene focuses on how his tedious, long-winded manners of speech are a source of comedy, as Gertrude suggests he should speak ‘More matter, with less art’ (2.2.97). Polonius alone reads the lines from the letter. In the original scene where Polonius reads Hamlet’s love letter to Ophelia to Gertrude and Claudius, they are the only characters on-stage. The next scene is in Act 3 Scene 1 when Ophelia and Hamlet run into each other in the hall, while Claudius and Polonius spy on them.īranagh introduces a tragicomic element in the scene from Act 2 Scene 2 when he includes Ophelia directly.
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I will focus on two scenes in the film featuring two passages from the play, the first of which is in Act 2 Scene 2 where Polonius approaches Gertrude and Claudius with Hamlet’s love letter to Ophelia. By staging scenes to place more focus on Ophelia’s plight, Branagh also comments on the difficult position of women in the play. Hamlet’s rejection of Ophelia is made all the more tragic in this film because Hamlet’s affection for Ophelia is so apparent, while it is left ambiguous in the play. I argue that Branagh deliberately stages the scenes with Ophelia in terms of Hamlet’s affection for her to make Ophelia’s later madness overdetermined, strengthening the link to Hamlet’s rejection of her as well as her father’s death in driving her mad. The relationship between Ophelia and Hamlet, while left ambiguous in the play, is made explicitly sexual in the film. Since he cannot play with editing the script and sequence of the scenes, he finds creative ways around this restriction through switching dialogue from one character to another, flashback editing and voice-overs. In choosing to make it an unabridged version, Branagh is faced with the task of visually supporting the text to make each scene seamless and each line ring true in the film without slowing the action down. It is a four-hour monstrosity of a film, without any lines cut out. :3 I just wanna hug him.īranagh’s Hamlet (1996) is the only unabridged film adaptation of Hamlet.
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