Laurence OlivierTwayne Publishers, 1979 - 190 Seiten |
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Seite 82
... Hamlet's estrangement from everyone else . There is an especially inventive use of deep focus early in the film as Hamlet , on the ramparts , oversees the revelry of the court in the castle below . Seeing Hamlet and the revelers at ...
... Hamlet's estrangement from everyone else . There is an especially inventive use of deep focus early in the film as Hamlet , on the ramparts , oversees the revelry of the court in the castle below . Seeing Hamlet and the revelers at ...
Seite 89
... Hamlet is , by fits and starts , embittered , overwrought , speculative , rash , impassioned , withdrawn ; like any decent Hamlet , he is a network of contradictions . In her incisive review of the film , Mary McCarthy praised precisely ...
... Hamlet is , by fits and starts , embittered , overwrought , speculative , rash , impassioned , withdrawn ; like any decent Hamlet , he is a network of contradictions . In her incisive review of the film , Mary McCarthy praised precisely ...
Seite 91
... Hamlet do color his in- terpretation , particularly in the forcefully played closet scene where Hamlet straddles Gertrude . This scene , the strongest in the film ( played on the queen's enormous , beckoning bed ) , is acted with ...
... Hamlet do color his in- terpretation , particularly in the forcefully played closet scene where Hamlet straddles Gertrude . This scene , the strongest in the film ( played on the queen's enormous , beckoning bed ) , is acted with ...
Inhalt
About the Author | 6 |
A Life in the Theater | 19 |
Early Films | 37 |
Urheberrecht | |
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