Thanks to my crazy crazy sleeping schedule, I didn't post a Hamlet scene yesterday, but this one is so freakin' EPIC it ought to make up for it. Normally I knock these things out over a couple of hours, but this one's taken me all day. I'm dividing it up in two posts and putting the first half up while I work on the second so I don't have to worry
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Seriously. I like to wave that fact in the face of people who are mean to Orlando because of his poetry. :P
I've always thought that Rosencrantz and Guildenstern are making all those enigmatic statements not to set up Hamlet's remarks, but because they're trying to get him to talk, hoping he'll open up about something--but then he deflects their enigmatic comments with more enigmatic comments. This may be the influence of Tom Stoppard on my brain, though. (And for what it's worth, the Oxford edition suggests that the bit about "the world's grown honest" might be proverbial, though that might just mean, "No, we don't know why he says that, either.")
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I've always thought that the lines like "None, my lord, but that the world's grown honest" are of a piece with their jokey behavior throughout -- they're able to keep up with his sense of humor even when we can't, which makes it sadder that they have to die. It also makes it sad when they're played by Timothy Spall & co as slimy morons.
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I actually thought Timothy Spall played...Rosencrantz? as rather sweet and sympathetic. No stupider than his lines make him, and I actually found Hamlet rather unkind for provoking that air of wounded dignity in him.
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That's so funny -- I also found Hamlet unkind in that movie, but I've always been prone to assume that the negative qualities in Branagh's characterization are not intentional, considering how much he seems to be, er, Gilderoy Lockhart. I thought the director's intention was to associate Rosencrantz with Spall's other roles, largely as, you know, the Henchman (although Spall as always added some class to the stereotype)... but again, calling it intentional is much kinder and certainly makes me like the adaptation more.
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The neat thing about R&G is how you can't have one without the other, whether they're a couple or two halves of the same brain (or body. It would be cool to play them as Siamese twins) or a package deal that you have to hire as one and pay double for, like the smart guy and his dumb brother-in-law, except that they are nearly indistinguishable and obviously both smart. But it's the genius of Shakespeare that we wonder about stuff like that; they could easily enough have been one guy who boringly followed Hamlet around.
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