“Branagh’s Hamlet: Composition and Color Pt II” will be back tomorrow!
Hamlet can be played as a melodrama, or as a tragedy; the two are not entirely immiscible, but the grandiosity and the melancholy of one of Shakespeare’s most famous plays leaves it often to interpretation. There have been numerous film adaptations and adaptors: Laurence Olivier (1946), Grigori Kozintsev (1964), Tony Richardson (1969), Ethan Hawke (2000). The tale of the downfall of the prince of Denmark and his family contains the same classic messages and timeless themes that initially made it famous, and today we take a look at Kenneth Branagh’s Hamlet (1996).
Alfred Hitchcock began before the talkies; his career in film started in 1919 as a card illustrator for silent pictures. As a consequence, his films pay special attention to their visual components, with the director once stating that he would create pictorial action to keep the audience invested, just in case the audio in the cinema went out.
“Something can always go wrong.”
Tarantino is famous for being a multi-faceted creator; he writes his own movies, he directs them, and more often than not he puts himself in them. His films most known for their dialogue, sharp, cool, and lean, but what happens if we take that away, and look at his choices as a director, specifically focusing on costuming? Let’s take a look at the costumes and characters of Pulp Fiction (1994).
At its center, The Grand Budapest Hotel (2014) is a tale of days gone by, an era that has passed us. It is enjoyable because it is a glimpse into a stylized snapshot, potent with nostalgia and quirky eccentricity, a phrase I’m sure has been used to describe Wes Anderson’s films since Bottle Rocket.
My interest yesterday in Jean Cocteau lingered on today, so I decided to watch another of his more famous works.