True to my word, our first in depth analysis shall be on Shakespeare's The Tragedy of Hamlet, Prince of Denmark. In specific, today's topic will be on the infamous "ghost scene" that encompasses most (if not all) of Act I, Scene 5. This scene involves the young Prince's interaction with the ghost of his dead father, the late king of Denmark. The father-son duo speak alone, for Marcellus and the pure, beautiful Cinnamon Bun (also known as Horatio) have not caught up to their young lord yet. During this interaction, the ghost tells Hamlet that he was actually murdered, contradicting the popular belief throughout Denmark that he had died of a snake bite. Furthermore, the ghost also reveals to Hamlet that it was his brother Claudius (Hamlet's biological uncle and current stepfather) that murdered him. Get some poison, pour it into one unsuspecting napper's ear in a garden, and voila! The recipe for one very dead king. The ghost implores his son to avenge his death by taking out the now King Claudius, who not only stole his brother's crown but his woman too.
Yeah, what a great brother.
The ghost scene ends when the ghost decides it's time to go back to burning damnation (around line 91) which gives Hamlet just enough time to monologue before Marcellus and Cinnamon Bun rejoin the scene. Normally, I'd expect that my first entry would be an analysis of the text itself but nay. In an interesting twist, we won't breaking down the text per se but rather how the ghost scene is interpreted in film.
In particular, I'll be looking at three distinct adaptations of the scene by directors Zeffirelli, Branagh, and Almereyda. Before we begin, it's important to recognize that these three directors have different interpretations of how this scene should look and that none of their visions are the "right way" to interpret the ghost scene. After all, it's just a script- it's up to the actors and directors to bring the words on the page to life in a visual performance. In my brief analysis I'll be looking at how the acting itself, the soundtracks/sound effects, visual elements, and the overall effect of each interpretation.
So, let's begin.
The Zeffirelli Version
Brace yourselves everyone, because this version is dark. And no, I don't mean dark in the sense that it's sinister or morbid. I mean that it's literally dark- like really dark. The scene is almost completely shrouded in shadow and blackness, with the only thing the audience can make out clearly being Hamlet's face (thanks to the moonlight). When I first saw the scene, it was in my English classroom with very poor light cancelation making it even harder to distinguish between facial expressions and where the ghost even is. At one point, I even thought there was no person playing the ghost at all, as the lighting was so terrible that I couldn't see into the shadows where the ghost was standing.
But putting those outside factors aside, the scene itself was extremely dark and was mostly dialogue based. The real effect didn't come from what you saw, but rather from what you heard. That being said, there was no music present during the scene. Sure, there was your typical string quartet following Hamlet around before the scene started, but as soon as the ghost opened his mouth to speak the music stopped. The only audio effect was the wind, which could be heard softly blowing as the ghost spoke. It really gave the scene a certain stillness, as if the world was stopping for this conversation to take place and that the only thing that mattered were the ghost's words and the raw emotions of the characters.
One of the most notable features about Zeffirelli's interpretation is that amount of passion that went into Hamlet and his father's characters. It's remarkable in that it never feels like they're reading off a centuries old script, but rather interacting in a way that feels genuine and heartfelt. Starting with Hamlet, who's facial expressions are the easiest to make out, Gibson portrays a horrified Hamlet who seems paralyzed with fear (and maybe
However, I think Scofield's acting really steals the show here. The ghost speaks with such deep remorse and sorrow, especially when accounting how he never had the chance to repent for his sins or have a reckoning with the choices he made throughout his life. Scofield plays a broken man here, who is far beyond saving and only wishes for his son to correct the wrongs his death left in the world.
The interpretation is perhaps the most true to Hamlet's time of origin roots, with the characters dressed in old-fashion European clothing not too far off from clothing worn around Shakespeare's time. In my opinion it adds a certain authenticity to the film, as if this version would have been a mirror of the interpretation that Shakespeare had in mind when he wrote the script. If anything, it really adds to the eerie atmosphere that Zeffirelli was trying to capture in this scene. You can't help but hold your breath along with Hamlet while watching this.
The Branagh Version
Branagh's Hamlet is almost the complete opposite of Zeffirelli's, and perhaps that's not a bad thing. Instead of taking the somber yet somewhat uncanny route, Branagh's version is all about fear. And not just showing the audience the fear that Branagh's Hamlet feels- but bringing the audience along for the ride. In the moments before the ghost appears, Hamlet can be seen running through a snow-covered wooded area. He's panicked, he's half-yelling his lines, and the camera is switching rapidly between scenes of smoke fuming from cracks in the ground to quick pans of the trees that Hamlet is running through. It makes the viewers anxious and nervous, as if they were the ones running in the field, trying to get away from something they can't see. Like a nightmare.
And then the echoing ghost voice can be heard, and it sounds demonic and scary enough to put your hairs on end. Then, with some slow pans across the woods, Hamlet's frightened face, and a quick jump scare, Blessed's ghost appears and the real "ghost scene" begins. I thoroughly enjoyed this feeling right off the bat, as they used special effects and quick camera cuts to bring the audience closer to the story. It's certainly more action packed (for lack of a better term) and it feels much more active than the other two versions. While the ghost is explaining to Hamlet the circumstances surrounding his death and his disgust over his wife and brother, the camera cuts to several flashbacks, which show us what happened in the past rather than have it conveyed to use through the spoken word alone. Again, it adds to the more quick paced and flowing feeling of the scene, as there is hardly ever a dull moment throughout the conversation.
Another notable difference is the fact that the ghost is almost completely monotone throughout his explanation. He speaks with a hiss, with no emotions to speak of while revealing the truth to Hamlet. It contrasts greatly to the other versions, because this version of the ghost doesn't feel like a father speaking to his son. More so, it feels more like the angel of death speaking to some poor pitiful soul, delivering the horrible truth about the death of his father (and he stark white eyes certainly don't help either).
The lighting is much more white based, with the snow where the "present" is taking place, to the white halls of the castle during the flashbacks. Even the King himself was murdered in a snow-covered garden that serves to highlight the vibrant colors of other props and clothing. The white feels equally fitting for a ghost scene, as ghosts in popular media are often depicted as translucent, white, floating figures that haunt every toddlers dreams. There is certainly much more use of colors and lights in this version, with bright red coats and dark coats to bring out the contrast in each scene.
The Almereyda Version
Last, but certainly not least, we have a modern adaptation in the form of Almereyda's version. Unlike the last two, Almereyda's version takes place in modern-day New York, with the key components of the play replaced by a modern equivalent. Instead of kings of countries we're given heads of corporations, and it's an interesting approach to the much needed revisions in a modern story. If I have the time I'll probably take it upon myself to watch the whole thing.
Regardless, we have here the brightest of the three versions, with the entire scene in view and each character clearly defined. Another interesting detail that I think is worth noting is that this ghost scene is the only one of the three that shows both Hamlet and the ghost in the same shot for a noticeable period of time. In fact, this even goes so far as to have the least amount of cuts out of the adaptations, as the camera doesn't have to keep switching between Hamlet and the ghost. Interestingly, the camera follows the movements of the actors, resulting in longer, uncut scenes throughout this encounter. It feels less like a back-and-forth interaction and more so like a believable, modern conversation (Minus of course the Shakespearean language).
Another interesting point is that this conversation is possibly the most intimate of them all. Shepard's ghost gets up close and personal with Hawke's Hamlet, backing him into walls while he speaks, holding Hamlet's head in his hands while trying to convey a point, and almost overwhelming him with his presence- and it put me on edge as well. One of the most touching parts was at the end, where the ghost is about to depart. Where all the other ghosts would fade with their final 'adieu', this ghost departs after sharing a hug with Hamlet. In this way, it rivals the emotional depth of Zeffirelli's, because even though this ghost never speaks with too much emotion than necessary, the last hug feels like a true father saying goodbye to his son. And I won't lie, it touched me a little.
The final noticeable aspect about this version was the normalcy of it all. The conversation takes place in a small flat in the city with a television, typical furniture, and a balcony that looks out onto the bustling city below. When the ghost enters, there's no change in the environment that immediately screams "ghost scene". You can even still hear the noises associated with New York traffic bellow while the conversation is taking place. The television is only thing that makes a subtle change with the scene, where it switches from a regular channel to a oddly warped scene of damnation and hell to symbolize the ghost's current purgatory. It feels odd to have so much normalcy where you would expect flickering lights or everyone's trusty string quartet, but instead be given a music-less, ordinary New York living room. Even the ghost looks like your everyday individual- he's not shrouded in darkness or a pale harbinger of death, but looks perfectly human. I'm not sure whether I prefer this interpretation of the ghost over the others, but I can say with certainty that I respect it. It's a bold move, certainly.
Closing it up
After reading the ghost scene directly from the text and watching all three adaptations of the same script, I can't say for sure that I have an idea of how I would approach the ghost scene if given the chance. I can only say I would have viewed it similarly to Zeffirelli- focusing on the emotion behind the dialogue and the weight of each line rather than the visual appeal of the film or play. I feel it's most important to get that emotion across in the best way possible, because while this is indeed a critical moment in developing the plot and conflict later on in the story, it's also a grieving, frustrated, confused, and horrified prince meeting his father once again. And I don't imagine the ghost of his father would be any less emotional than his son is.
Looking at these scenes, it would be wrong of me to say I had a favorite because each film brings a unique spin and interpretation of the ghost scene that is charming in their own right. I'm looking forward to reading further into the play and perhaps watching more of these adaptations. And no, it's not because we get to watch movies during class.
Ok, maybe a little.
-Chrislynn Idis
Chrislynn, nicely done! I enjoy your point about the literal and figurative 'darkness' of the Zeffirelli version. The medieval setting and the shadowed conversation really emphasizes the darkness of this moment for Hamlet and his father.
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