This essay discusses two productions of Hamlet Act 1 Scene 4-5 from the ghost’s entry to Hamlet’s reaction: the 2009 version directed by Gregory Doran starring David Tennant and the 1990 version by Glenn Close starring Mel Gibson. The 2009 version scene has a contemporary feel with its use of modern dressing and settings. The 1990 version stays more traditional in its style, but lefts out many (more) lines of words and rather focuses on conveying the emotions of the characters. The two main characters, ghost and Hamlet, take on very different personalities and behaviors between the two productions.
Tennant’s Hamlet is emotional and determined in his mind, while Gibson’s is more of a warrior, passionate and ready to act. One ghost commanding, the other fragile yet fatherly. The 2009 adaptation starts out in a dark alley at midnight where Hamlet, Horatio, and Marcellus wait for the ghost. Hamlet dresses in a black suit showing his formality as a prince. Horatio is in a fashionable coat and Marcellus in a police uniform, recognizable of each of their roles. In the background cheerful sounds of trumpets and fireworks come from the King’s party.
Then the ghost appears suddenly, walking towards them slowly and mysteriously with his back facing the camera. The background music turns to a low rumbling sound, creating a scary, ghostly atmosphere. Hamlet speaks to the ghost, pleading it to respond. He kneels down on the floor, looking up to the ghost, a sign of his submission and awe. The ghost keeps a stern face and remains silent, in contrast to Hamlet who now stares with his eyes wide open in complete wonder and shock.
The ghost then waves several times at Hamlet signaling him to follow. With each wave a bell is struck in the background, giving he ghost even more spooky presence. “Mark me. ” the ghost finally speaks. By now they are inside the main hall of the castle. It almost seems unrecognizable as the same place where Claudius has previously held the “funeralmarriage. ” Under the darkness, the bright hall turns into a surreal, even hell-like, place filled with fog, where the flower-like windows in the background glows with an eerie shade of blue and the floor reflects light like a pond of water. The setting here is wonderful as it literally shows the dark side of Claudius’s court, which perfectly accompanies what Hamlet is about to hear.
The ghost now finally reveals his true appearance: a middle-aged man wearing full armor and helmet. It resembles how Hamlet’s father used to be, in his battle suit and ready to command the army. Likewise, the ghost is also in full command of Hamlet in this scene. He says those two words loudly in his deep voice, almost angrily, to demand Hamlet’s full attention. Though it really isn’t necessary since listening to him is what Hamlet craves anyways. The ghost continues speaking of the horrible tale in his deep voice. Hamlet drops down to his knees in shock when the word “murder” resounds.
He then kneels in the center of the frame as the ghost circles around him, trapping Hamlet within the horror. The background music adds to the ghost’s narration: when the ghost’s tone becomes more emotional it is backed by a flute melody, while a more ominous tune is used to show anger and disgust. Finally the ghost concludes by telling Hamlet what to do. He grabs Hamlet’s shirt and pulls him up, aggressively commanding Hamlet to revenge. But then the ghost also hugs Hamlet and tells him to leave his mother alone, in an act of love and sympathy. After saying “remember me” in a haunting voice filled with special effects, the ghost disappears.
Hamlet is left alone reflecting on what he just heard. The ghost has indeed made a huge impact, and Hamlet expresses his remembrance of the ghost. He first kneels and swears. Then he stands up, yelling “remember thee! ” in response to the ghost, almost sarcastically. He pulls on his hair and hits himself in the forehead swearing to wipe out everything in his brain except for what the ghost just said, with a hint of frustration about himself and his “old” mind and a resolution to reform and renew. Hamlet’s tone suddenly becomes calmer as he calls his mom and Claudius “pernicious woman” and “villain” with a sly smile.
Perhaps he is envisioning the sweet revenge. Finally he pulls out a pocket knife and cuts himself in the palm to swear, which is quite a violent way to show his resolution. In shock, Tennant’s Hamlet turns melodramatic and almost mad, foreshadowing his feigned madness and perhaps suggesting his true madness. Mel Gibson’s 1990 version is more traditional in its settings: the scene starts off at night on top of a castle where Hamlet and company stand outdoors dressed in medieval clothing, just like what you would expect from the Shakespearean times.
Beneath them is Claudius’s party where the music comes through. The ghost shows up quietly and suddenly as an emotionless pale floating head. Its entry is made more scary by the sudden and loud rattling noise from Marcellus’s armor as he jumps back in fear, at which point the background music also becomes dark and looming. Gibson approaches the ghost slowly, asking for a response: “answer me. ” This version omits Hamlet’s pleadings afterwards in the original play, and in comparison to Tennant’s Hamlet who by now has knelt down on the ground, Gibson’s Hamlet appears calmer and more dignified.
The ghost waves at Hamlet and disappears inside the castle. Hamlet searches through the dark alleys holding his sword trying to find the ghost. He moves cautiously, like a trained soldier flashing his sword at every corner. The “follow me” part in this version has more action and a real sense of danger, which is exciting and more true to a ghost scene. Finally they meet on top of the tower, leaning against opposite fences. Hamlet trembles and drops his sword when he sees the ghost.
But then all the tension dissipates as the ghost looks at Hamlet in his eyes and leans in slowly saying “I am thy father’s spirit,” in a voice quiet and frank. The ghost’s humanity post sharp contrast to the dread that Hamlet and the audience just moments ago felt. The camera work is simple as the ghost speaks of the tale, switching between close-up shots of the two characters. However the simplicity also focuses the audience’s attention on the acting. Gibson’s Hamlet looks at the ghost in shock, and though he doesn’t show as much emotional pain as Tennant’s Hamlet, his disgust and disbelief are plainly visible.
The ghost portrayed, on the other hand, isn’t of an almighty king like in the 2009 and many other versions, but rather of an old father who has suffered so long – a victim of indescribable crime – who’s hoping for justice. The ghost cuts out the drama in the original text and is straight to the point, which results in a more natural and emotionally impactful delivery. One can see the range of emotions it goes through in the close-ups: from initially sincere and matter-of-fact, to pain and regret with “O horrible! , to firm and emphatic as he asks Hamlet to act, and finally to fatherly and kind when he takes his leave.
The power dynamic between Hamlet and ghost in this version is a lot more balanced, and they appear to be more in an equal dialogue than in the other version, where the ghost is dominant. After the ghost leaves, Gibson’s Hamlet speaks of his passionate resolution with tears in his eyes. He isn’t as dramatic as Tennant’s Hamlet, but displays genuine emotions nevertheless. Then mid-speech he rushes down the stairs to a platform.
It’s great that in this version Hamlet and the audience see Claudius and Gertrude directly from above. The view triggers and accompanies Hamlet’s reactions: He curses at them with anger and disgust on his face, which is in contrast to the smile on Tennant’s. He also carves and strikes at the stones with his sword, as opposed to “carving” his own hand. He is furious and about to kill Claudius with his sword like what he does to the stones. Gibson’s interpretation of Hamlet is quite different from Tennant’s and perhaps also the general consensus: his is more of a soldier, direct and ready to act.
