Page 156 - Shakespeare in the Movie From the Silent Era to Shakespeare in Love

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cracking under extreme stress; then the sight of Fortinbras's army
provides a stiff shock to the system, and he regains his senses.
As to Fortinbras, this is the only major English-language film in
which he appears; as in the Russian Gamlet (and perhaps inspired by
that movie), Branagh includes shots of Norway's army on the move,
as well as the face of Fortinbras, until his visage becomes a recurring
motif. As a result of crosscutting, which suggests predetermination,
Branagh makes clear that his Fortinbras is fated to arrive at Elsinore
when most needed rather than showing up by happy accident. Here,
though, Branagh departs from Shakespeare, not the text but the
intent. Fortinbras was the Bard's device to portray order restored via
a proper prince. Branagh's Fortinbras, however, appears so menacing
throughout that we feel queasy about his assuming control. In con-
trast to Shakespeare's vision of a friendly visit, Fortinbras's men
attack Elsinore. Fortinbras's first command, as newly crowned king,
is to pull down statues of old Hamlet. To visually convey Shake-
speare's vision, they should rather raise up old Hamlet's statue,
which Claudius had knocked down.
The film is not without weaknesses. Jack Lemmon, as the guard
Marcellus, sounds so out of place that he threatens to ruin the film
before it begins; thankfully, he soon disappears, and the rest of the
American casting works well enough. (Heston, as the Player King, is
nothing short of inspired.) Twice director Branagh makes the mis-
take that all but ruined his film Mary Shelley's Frankenstein, in
which his camera continuously circled characters to no noticeable
effect. The camera should move only when it must and not per-
functorily to merely prove it can. The constant use of such a dis-
tracting technique made it clear that Branagh was directorially
insecure while filming Mary Shelley's Frankenstein. In Hamlet he's
more secure, allowing the strong material to speak for itself, except
for two scenes where he uses the distracting circular approach: early
on, when Claudius, Polonius, Gertrude, and Ophelia discuss what
must be done with Hamlet; and again, when Claudius plots with
Laertes to kill Hamlet. On both occasions, Claudius initiates a con-
spiracy; perhaps Branagh adopted a circular movement to convey the
roundabout approach by which Claudius plots.
Unfortunately, the technique calls attention to itself, which is dis-
astrous in a movie that otherwise makes us all but forget the
camera's existence. As Hamlet might have put it, "More matter,
with less art." At other moments, Branagh does not visualize what
he should. The confrontation between Hamlet and the sea pirates,