I had not expected to laugh at Hamlet, as much as I did at the Royal Shakespeare Company’s 2009 production of Hamlet. Director, Gregory Doran, does the play an informative justice and favourable effort at guiding the perspective of the audience into focus of certain character’s monologue. This, along with the strings of time being interwoven with the set designs and costumes, adds many more layers than other works by the Royal Shakespeare Company. With these layers and additions, Gregory Doran creates an emphatic and enthusiastic version of Hamlet that, although most modern, can be viewed as the most popular of the few.
It had been unusual to me to see such stars as David Tennant and Patrick Stewart bolstering as their respective Hamlet and Claudius. To start, Tennant I found to be the utmost enrapturing version of Hamlet I had witnessed. Tennant uses his limber body to express his emotional responses in every frame he exists within. In (Hamlet, 1.2.4) before and after he discovers news of his Father’s Ghost, Tennant expresses rage, sadness, excitement and doubt, within a few minutes of dialogue. It is here, where you the viewer, are first gazed upon by the nature of the actor, and the rawness you are intended to feel.
I compare the eye contact to the effect of being a member of the audience in a stage play. It resembles the notion that a character that addresses outward from the stage, into the crowd, that said character is speaking directly to you. It obviously differs because you could be viewing this film, alone or with company, therefore, by looking at the camera, anyone looking at the reverse, which would be the screen, would feel the same pressure as being addressed by someone on a stage. For better, it is an effect that is appreciated in it’s purpose, but can be considered limp and misunderstood.
Another
