His Academy Award-winning film, Gibson's nervousness seems naturalĮnough. Renown of Olivier and the enormous critical and commercial success of Potentially overwhelming inherited responsibilities. Play: the prince (or the actor) stands alone, in the dark, facing Recalls the one in which the Ghost first appears before Hamlet in the Shirt: "I made sure that I was in the hotel room by myself, with Gibson remembers feeling nervous when he first tried on the Producers gave Mel Gibson (Hamlet) a shirt worn by Laurence Olivier in (Gertrude) recalls that, on the first day of shooting, one of the Zeffirelli's production before filming even began. Ghost of Olivier waited on the set for the cast and crew of Pilkington relays in Shakespeare and the Moving Image, suggests that the Himself and his most important cinematic forerunner reflect his anxietyĪbout being judged in relation to, and possibly overshadowed by,Īn anecdote from the set of Zeffirelli' s film, which Ace G. Indeed, Branagh's overzealous ef forts to elude comparisons between Zeffirelli, he too is greatly indebted to Olivier' s precedent. In defining "William Shakespeare's Hamlet." But whileīranagh displays his ties to cinematic history far less obviously than
Zeffirelli, Branagh tries to avoid Olivier altogether, denying his role To reclaim the play from Olivier, the Italian director remains hauntedīy the earlier "Hamlet" throughout his production. Present their own interpretations of Hamlet. Shapes their readings of Shakespeare's play, leading them toĬomment on their own attempts to revise Olivier's work as they Preoccupation with Laurence Olivier's "Hamlet" (1948) Shakespeare's Hamlet" (1996), show how the relationshipīetween the Ghost and the prince, Hamlets old and new, speaks to theĭifficulties of maintaining personal integrity while reckoning withĭebts to the past. "Hamlet" (1990) and Kenneth Branagh's "William Two recent film versions of Hamlet, Franco Zeffirelli's Of inspiration and anxiety, which he struggles to come to terms with If sometimes compromised by "baser matter," a source at once Yet the vision of the previous Hamlet remainsĬonstantly "ithin the book and volume of brain," even Hamlet can sustain neither his pitch nor his single-minded focus in Me," Hamlet delivers a rousing soliloquy, devoting himself to theĪll saws of books, all forms, all pressures past, He feels to the past soon becomes apparent, when, after the Ghost hasĭeparted and enjoined the prince one last time to "Remember Of the supernatural and compelled by his sense of duty, returns: "Mark me," the specterĬommands upon first appearing before the prince, who, cowed by his fear Scenes and speaks in but two of them, the figure of the former king While the Ghost in Shakespeare's Hamlet appears in only three APA style: Visions and revisions of Laurence Olivier in the Hamlet films of Franco Zeffirelli and Kenneth Branagh.
Visions and revisions of Laurence Olivier in the Hamlet films of Franco Zeffirelli and Kenneth Branagh." Retrieved from 2000 Indiana University of Pennsylvania, Department of English 11 Sep.
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