Ophelia’s Madness (optional)

I promised you an opportunity for two extra marks on your Ophelia Madness film chart (or you can put it toward a mark from an earlier posting.)   If you’d like to know your marks from earlier postings, you can ask me in class tomorrow.

Your posting topic?  Which Ophelia version do you like better and why? Deadline for this is Thursday 5th by midnight.  Posting should be about one hundred words.  (Just to clarify the directions for this assignment, two extra marks is the maximum here, so plan your discussion; a lengthy discussion over one hundred words will still be getting the same mark as a shorter discussion.)

Remember, this is optional.  Post only if the inspiration strikes you.

Other Things:

Your essay rewrite is due Monday 9th in class.  Bring the original rough draft, the revised good copy, as well as a typed, one page explanation outlining the changes you made in the paper and why you made these changes.

See me if you have any questions regarding any of the preceding items.  I’m happy to talk to you about your paper.

Ms. Cox


~ by Ms. Cox on November 5, 2009.

23 Responses to “Ophelia’s Madness (optional)”

  1. Of all the mad Ophelias, Kate Winslet was my favourite. Her acting choices in this scene were excellent for showing Ophelia’s madness. She did a fantastic job of portraying the insanity in her voice, her face, her body, and her mannerisms. She also does a wonderful job of contrasting her actions. In her first entrance she is seen rushing and dancing around the hall, but in her second appearance she is sitting in one place. Her speech is contrasted in both volume, and pitch. She speaks in both whispers, and in shouts. Also, while speaking to Laertes she changes her pitch, the way someone might change their voice to represent another person talking. This change in pitch made me think of multiple personalities having a conversation, and manifesting themselves through one voice with different tones. While she uses these different pitches, she also switches between regular speech and singing, another contrast she uses to demonstrate her madness. The final contrast I noticed was the fact that her face was wet with tears, however she sat there laughing while Laertes spoke in such a grave tone. Finally, I like Branaugh’s choice for Ophelia’s costume. She enters wearing a straight jacket, which I think illustrates very well that she is so far-gone that she had to be taken in to professional care. Also, when she reappears after her tantrum, she is in only her dressing gown, as though she ripped the other articles of clothing off in her rage. For demonstrating Ophelia’s madness in her voice, face, body, and mannerisms, Kate Winslet is my favourite Ophelia.

  2. After watching the four versions of “Ophelia’s Madness Scene”, I realized all the directors were trying to portray how upset and mad Ophelia. Ophelia has transformed her character from a nice innocent obeying “daddy’s girl” to an angry young woman mad and furious after finding out her father has died as well as the anger she has towards Hamlet.
    Comparing these four clips, I preferred Branaugh’s version who casted Kate Winslett to play Ophelia. Although the setting was not accurate to Hamlet’s time period, I believe the actions committed by Ophelia were more important than the surroundings. She is introduced by being wrapped up in a strait-jacket and rolling on the ground. I liked this because it tells the audience that she is being restricted of being let free because she has a lot of anger and madness that is built up against her, which may result in bad outcomes if let free. Once she is let out of the strait-jacket she goes straight into chaos, she begins screaming and running around the castle.
    “Then up he rose, and donn’d his clothes, And dupp’d the chamber door Let in the maid, that out a maid Never departed more…By Gis and by Saint Charity Alack, and fie for shame! Young men will do’t, if they come to’t, By Cock, they are to blame. Quoth she, ‘Before you tumbled me, You promised me to wed’” (4.5.50-54 & 59-66)
    This part is very important due to her thoughts towards Hamlet, because he told her they would marry her if they slept together, which isn’t very true. Ophelia’s feelings and anger is rising and this version really showed that by having Ophelia on the ground pretending she was in a bed with Hamlet. I preferred this version more because Kate Winslett really got into character and demonstrated Ophelia’s anger by not only how powerful her tone was but also the actions she choose to portray.

  3. Ophelia is a character that shows tremendous change throughout the course of Shakespeare’s tragedy Hamlet. At the beginning, she is portrayed as a strong individual, yet towards the end of the play, she has suddenly become desperate for Hamlet and her insanity has been interpreted by several different actors. The best of all was the Zeffirelli version, where Ophelia was played by Helena Bonham Carter. Her insanity is made believable through her extremely well executed actions that almost make the audience question the sanity of Carter herself. She is spastic in her movements; her clothing a mess and crazy-eyed, yet oddly she still looks innocent. Her innocence is a great effect, because her looks are so deceiving. This leaves the audience slightly disturbed, because before this moment, she seemed to be a clear minded young woman. Ophelia’s quick change in personality is unnerving and shows how a series of events that end tragically can have a huge impact on the mind of even mentally stable seeming people. One moment, she is perfectly calm, the next she is seen dancing and singing and then later talking to herself. When Ophelia says “We must be patient: but I cannot choose but weep, to think they should lay him i’ the cold ground.” (4. 5. 68-70), her act has reached the strangest part: going from a weeping to suddenly excited state. At this point, the audience is so convinced of Ophelia’s madness that there is a slight feel of despair and hopelessness, due to the uncertainty of Ophelia’s future in the fragile state of mind. Without a doubt, it is Helena Bonham Carter who displays what true insanity would look like, and makes her role as Ophelia stand out above the rest.

  4. After watching the different versions of “Hamlet,” I have realized that the portrayal of a character greatly varies with the director. Ophelia, who once was a strong but obedient character, now seems to be withered by the woes that have come upon her. This feeling of great distress is greatly acted upon by Helena Bonham Carter in the Zeffirelli version of the play and by Kate Winslet in the Branaugh version of the play.

    Helena Bonham Carter clearly distinguishes herself as Ophelia by the prowling and lunatic characteristics she portrays. She is able to look ruffled by her appearance and the way she acts suggests that something has truly driven her crazy. For example, when Carter says, “How should I your true love know/ From another one” (4.5.23-25), she starts touching and feeling the face of a guard and looking into his eyes longingly. This makes it seem like she is trying to envision Hamlet in the guard. To the guard and the other characters in the play, this may seem preposterous because Ophelia is doing something highly inappropriate and crazy. Carter also has the wild hair, and a twisted gait that seems unnatural to the human body, making me feel slightly disturbed by her cries of pain and grief.

    Kate Winslet, who as mentioned before, also plays the role of Ophelia, tends to affect me psychologically like Helena Bonham Carter but in a different way. Winslet, tends to look more innocent. Instead of fear, I feel pity and sorrow for Winslet. Ophelia is first shown in this Act on the floor, wrapped up in a blanket or rag-like material. Her head is also completely covered, making it appear like she looks sickly or bald. She also laughs for no apparent reason to show emphasis on her lunacy. For example, when Laertes comes in and sees Ophelia after yelling at Claudius, Laertes seems in shock, whereas Ophelia (Winslet), shows no recognition of Laertes and continues to giggle and pluck at flowers. Hence it is her overall acting performance as Ophelia that won me over.

    Both versions were excellent and made me want to see more. I think that Carter and Winslet were the perfect actors to play Ophelia with their respective directors because they both fit into the script, time period, and director’s viewpoints perfectly.

  5. After watching the four different takes on Ophelia’s madness I have to say that I liked Branaugh’s portrayal of her madness the best. Even though the setting in this version did not match up with what most people would picture Hamlet to be preformed in, I personally enjoyed Kate Winslett’s performance the best. I found that she showed more emotion and seemed to be the most effected by the tragedy that she was facing.
    In this version you see Ophelia laying on the floor in a straight jacket rolling around and then to later get up and just run around and screaming to let her anger and frustrations out. I thought that this was the best and most effective way to show her madness, acting crazy and just being oblivious to her surroundings. Later she then re-enters the scene wearing something resembling a nightgown? She acts as if her mind it totally gone, its no where near sanity as she sits her self down and plays with her fingers franticly and calmly sings to her self.
    This part in Hamlet I think is important in the building of her character, and is a very effective way saying her final words.

  6. I enjoyed the Gibson representation of Ophelia’s madness better than the other three versions. Helena Carter does an exceptional job of portraying Ophelia’s suffering and I was able to believe her true pain and sorrow. Director Zeffireli does a wonderful job of cinematically blocking the scene and portraying it in a shocking way, similar to what I envisioned in my mind. Ophelia’s last words “Goodnight, Goodnight, Goodnight” are perfectly over dramatized to emphasize her departure from reality and her exit from the movie. The pain and sadness in her inflection sent chills down my spine as I could only imagine the anguish that is caused by the loss of a parent. I felt the other versions were inadequate and did not satisfy me as well as the Gibson version did because it is very similar to the way I pictured the scene to be in my imagination. Everything from setting, costumes, tone and the inflection of Ophelia’s voice to the psychotic nature of Ophelia’s rant were carried out exactly how I thought they should be. If I had to rate each version out of ten based on everything, the Gibson version would undoubtedly receive a 9/10 because it was out of this world.

  7. Although each version of Ophelia was played fairly crazy and got the point across, my favourite version was the Gibson version. The setting in this version seemed more true to the time period. The scene took place in an old, stone castle, which is how I pictured the castle to look while reading the play. In this version, Ophelia has very messy hair and puffy, red eyes, which make it look like she had been crying. She walks with her head turned to the side but still looks around, which makes her look really creepy. When she says, “At his head a grass-green turf, at his heels a stone” (4.5.31-32), she opens her eyes wide and puts her arms in the air, which is not a very normal thing to do. Then when she is talking to the king and says “but I cannot choose but weep…(4.5.67-68), she starts crying showing how upset she really is. Overall, I think the Gibson version was better because it showed Ophelia’s true madness in an appropriate setting.

  8. Ophelia is an interesting character in the tragedy Hamlet by Shakespeare. She undergoes a transition from sane to madness, which is similar to Hamlet although her insanity is real, when Hamlet was feigning it the whole time to fool everyone. The director that demonstrated this transition the best was Zeffirelli. Helena Carter was able to portray Ophelia’s madness very well, by utilizing the possessed-like movements and her facial expression makes it look like she is lost, and without a purpose to fulfill in her life. The quote that provides proof for her madness is when she says “We must be patient: but I cannot choose but weep, to think they should lay him i’ the cold ground.” (IV.V.67-69), this quote proves her new deranged lifestyle by the sudden passing of her father. Ophelia’s emotions are overwhelmed by the loss and she cannot take it, and snaps. Zeffirelli’s version provides a detailed verbal and visual representation of this scene and surpasses the other versions in expectations.

  9. Of the four versions of “Ophelia’s Madness—On Video!,” the Branagh version is the one that I enjoyed most. I found the initial image of Ophelia in a straightjacket had a very strong impact and effectively symbolized her lunacy. Kate Winslet’s depiction of Ophelia, as a desperate and hopelessly hysterical young lady, is very powerful and impressive. She truly seems perturbed by her father’s murder, and her insane behaviour gives the viewer the discomfort I think Branagh wanted to convey. The director’s choice to interpret from “Hamlet” that Ophelia and Hamlet slept together is also very interesting. Branagh’s inclusion of Ophelia’s memory of making love to Hamlet, as she publicly makes profane sexual gestures while delivering the lines, “Young men will do’t if they come to’t,/By cock, they are to blame,” is sudden and shocking to the viewer (4.5.59-60). Claudius’ ensuing calmness as he is confronted by Laertes is also surprising, in a different yet equally strong way. Overall, I feel as though Winslet’s portrayal of Ophelia’s madness has the greatest impact on the audience, and I think that Branagh’s depiction of this Shakespearian scene is very captivating.

  10. My favourite version of Ophelia’s madness scene was actually the more modern Hawke, which surprised even me, considering I detested the To Be speech from the same work. I felt that I could connect more to this Ophelia because of her apparent age (university student), dress and actions such as the massive screaming fit, even though she did look a bit like a cr**k head and certainly acted that way. Ophelia is upset and pissed off at both her father’s death and Hamlet’s rejection and isn’t at all afraid to let every single person within 10 KM know it. The actress herself was also much better than in some of the other versions and I felt that she portrayed this anger and grief well, though the absolute feather in the cap is the drowning part of the scene, where her dead body is being dragged out of the fountain by a cop. Call me sadistic, but it really slams home Ophelia’s feelings in all of this in an extremely vivid way, thanks to the twenty foot waterfall in the background and the gold inlaid walls and tiles, and makes me feel warm and fuzzy because lots of people still get to die, though maybe not in as cool of a way.

  11. From all of the different versions of Ophelia’s madness that were shown in class, I preferred the Zeffirelli version of the play. Helena Bonham Carter, perfectly fits the role of Ophelia, and is successful in showing the pains and sorrows she is going through at this time. Her mannerisms and small gestures like staring with widened eyes, screaming, and fiddling with her hands also makes her seem very natural and allowed me to believe that this was how Ophelia was truly like. After Carter says, “Well, God’ield you! They say the owl was a baker’s daughter. Lord, we know what we are, but know not what we may be” (4.5.41-43), she spontaneously breaks down screaming, holding her head and has a possessed look on her face. From this action, one is capable of seeing how much trauma she is coping with, and can confirm that she has lost her mind.
    Not only do her words show her state of distress, but just by her appearance, it isn’t too difficult to tell that she has become insane. A woman, who was first seen as a respectable and a bold character in the beginning of the play, is now seen snooping around the castle in bare feet and in ragged, dirty clothes. Her hair is also frizzled, and her eyes seem red, as if she was crying. She doesn’t just act animalistic, but looks of it as well.
    Comparing with the other versions of Hamlet, Zeffirelli’s edition matched well with my view on the settings and characters of the play. The stone walls and other props that were used during Hamlet’s time helped me to embrace the atmosphere and allowed me to become a part of the story. Overall, Zeffirelli did a fantastic job in creating this scene, and was my favourite from all of the other versions.

  12. Every version of Ophelia although seems pretty crazy and nice, but due to me the best version among all is Gibson’s version due to the movie setting and act of Ophelia in it. The movie is plotted in the castle which gives it more reality that there is a kingdom where a king is handling the problems. The plot of the story Hamlet by Shakespeare seems to be pretty old, so it perfectly matches with age shown in Gibson’s version. As for Ophelia’s act in it, it is not very over-dramatic yet it is full of emotional and sad impact. She enters with open and messed up hairs and eyes fully opened like she was really scared of something which gives the impression of her insanity yet carries emotional impact. She shows her craziness by touching the guard then chasing the queen. Her words and face expression shows that she went through something horrible because of which she’s mad now. All these things makes Ophelia’s madness seems very realistic and increases the emotional impact on audiences. Thus, I like this version the best among all.

  13. Zeffierli ‘s insights into Ophelia’s character allows viewers to capture the essence of her insanity. The Gibson version was the one I most enjoyed, as the scene allowed for me to view on screen what I had already envisioned in my mind. From the setting, her bemused character, her appearance, to the dynamic inflections of her voice, I felt that Helena Carter gratified the audience with the most effectual portrayal of Ophelia’s madness. I felt that as a viewer, I got to enjoy and satisfy my own preconceived notions on what Ophelia was like. When Ophelia gave out her flowers to the members of the court, her madness is expressed physically. Likewise, Carter’s Ophelia has a madness that is tangible and real – a breakdown from the truth she cannot handle.

    I think Zeffirelli and Peter Jackson may have been good friends because Ophelia’s mannerisms and the way she moves mimic those of Smeagol. Barefoot and with a touch of psycho, I have a feeling that the makeup team and the directing team looked for direction to the most crazy character of all of Middle Earth – Smeagol.
    “My Precious~!”

  14. After watching all four versions of her madness, I think that the Gibson version was the best. Everything about it made sense. From her outfit to the tone of her voice to the setting itself, I felt that this version hit all of the right notes or spots in the portrayal of Ophelia’s madness and what I pictured it to be in the play itself. Helena Carter did a fabulous job with portraying her madness. I felt the intensity of it all. Overall I thought that it was extremely believable in a sense that it all made sense. Ophelia (in the beginning) was supposed to be this innocent character who had no problems (wasn’t complex), but it wasn’t until her madness scene where we see that she’s not so perfect. As an audience we see that she really is insane. I know after viewing this version, I really did pity her. I really felt her pain and suffering. After all, here’s a character who lost a lot and at the same time, a lot has happened to her. She lost Hamlet- a man who I really believed that she cared about. She lost her father-all because of a misunderstanding. She’s really alone right now with nobody to turn to. I feel her pain. And what sucks about it all is that there’s nothing that she can do. I absolutely loved her exit when she says “Goodnight ,Goodnight, Goodnight”. In a way it foreshadows that these three words are the last words that we’re going to hear her say in the play. I believe that this had a strong psychological impact. Her outfit was great. She really looked poor and upset (after all she wasn’t wearing any shoes). I felt that the other three versions did not do the play justice with the portrayal of her madness.

  15. I definitely agree with “cohenator “ that the Gibson version is the best because it portrays Ophelia’s madness the most similarly to how I imagined it in my mind. Also, I think that Helena Bonham Carter does a great job of making her madness seem very real not only though how she says her lines but just how she moved. My favorite part was right at the beginning of the scene when she just peaks over the side of the stairs- very creepy. Of the other versions Branaugh was a close second but Hawk and Olivier fell far from the mark.

  16. Of the four versions of the portrayals of Ophelia’s madness we were shown, I found that the Gibson version was the most authentic portrayal of the madness she would have in her given situation. The way she acted on stage was precisely what I imagined while reading the text, and watching our fellow classmates perform. For a couple of reasons, I believe this version is closest to what Shakespeare envisioned his Ophelia to be.

    Firstly, her wardrobe was not out of character for her as an upperclass female, but by looking at her outfit, it was evident that there was something wrong with her. Her dress was torn at the bottom, and she walked bear-footed around her castle. Her hair was not tied back neatly like it was in her first appearance in the film, which further suggested that she was not her usual self.

    Secondly, I enjoyed her portrayal as an actress far more. The other versions each had either too much acting, or too little, but this was the perfect middle ground. Although she was acting crazy and harassing one of the guards, it was still logical that this same girl came up with smart remarks several scenes before. This same intelligence was not shown in both the Hawke and the Olivier version, causing them to be far less believable and realistic.

    Of the four versions shown, Gibson’s version seemed the most authentic and relative to Ophelia’s role earlier in the play.

  17. Between the different versions of Ophelia that were shown in class, the one I preferred the most was the Gibson version. Ophelia’s actions, just at the beginning of the scene, indicated her unstable state of mind. When her fingers creped over the sidewall, her actions were animalistic and intriguing. As well, as when she goes up to the guard and harasses him, she implies how close Hamlet and her were by saying, “ By Gis, and by Saint Charity, / Alack, and fie for shame! / Young men will do’t if they come to it/ By cock, they are to blame” (IV.v. 57-60). The portrayal of this quotation was a need neat depiction of her feelings towards the current situation. This version was the most believable for me because nothing was overdone. It appeared that her madness was truly her sorrow for her father’s death and not just an act as Hamlet is leading on. Her appearance also gave her a withered, fragile look that added to her character to make her appear dismantled.

  18. Though all four different versions of Ophelia’s madness scenes, that we saw in class, had their own unique view, one of these versions stood, in my opinion, out above the rest. I’m talking about Gibson’s version of this scene.
    Helena Carter did an amazing job of portraying Ophelia’s pain. I found that I could truly see and believe her pain and sorrow. Every thing from the way Ophelia walked to her actions to her eyes to her clothes really made her seem mad and innocent.
    I also loved the fact that the sitting, the props and the clothing were actual true to the time period unlike the other versions, we watched, that were all modernized to some extent. In my head well reading this part of the play I imaged this scene to take place in an old, medieval looking, stone castle which is exactly how the setting looks in Gibson’s version of this scene.
    One of my favorite parts of this scene is, right at the beginning, when Ophelia enters because of the way she looks at you, over some boxes, with her black eyes and her dirty face. I just can’t help but feel sorry for this poor innocent girl who is lost in despair and turn to madness over the death of her father.
    Over all I feel that out of the four versions we saw Gibson’s version was the best because it truly showed how innocent and mad Ophelia is.

  19. Ophelia’s madness scene is important in Hamlet because it is the point at which things start to turn for the worst. It also provides a good contrast to Hamlet’s ‘faked’ insanity from earlier scenes in the play. Of the four movie versions of this scene, I found the Zeffirelli version the most believable. This version was set in an old stone castle which helped provide the mood of an older time period. The scene starts off with Ophelia on the castle roof where she starts talking to the guard and touching him; she pulls off his helmet and touches his chest and pulls on his belt. With this image, you get a sense of Hamlet in the guard, the way Ophelia is ‘playing around’ with him, much like what Hamlet does to her. Ophelia then goes inside and calls for the “beautiful Queen of Denmark” (4.5.20) and starts singing and talking and crying, making a fool of herself in front of everyone which demonstrates her madness. In this version, Ophelia’s hair is disheveled, her clothes are messy and dirty and her eyes are red which, altogether, makes her look even more insane. Her eyes wander and she stumbles in a funny way that further adds to her character. I also liked how this version depicts Ophelia as very young which gives her a sense of innocence. Her youth makes the audience want to sympathize with her. Overall, this version was really well done, especially in comparison to Hawke’s Ophelia where her madness wasn’t emphasized as much. Hawke’s version was portrayed in a more modern setting of Claudius’ office building. Ophelia in this version didn’t seem mad or crazy, just more hysterical. As well as the setting that didn’t work as well the details of Ophelia’s clothing and hair didn’t either. Ophelia’s hair was tied back and she was wearing a dress that didn’t match her upset mood. In this version she just screamed a lot, and there wasn’t much in the way of acting involved. The only part I liked in this version was when Ophelia was dragged out by the security guards. Hawke’s version makes the audience less-likely to empathize with her. I didn’t feel sorry for her as I did in the Gibson version where she seemed hopeless and so far gone that you felt sorry for her. Out of all the versions, Helena Bonham Carter played the best, most believable mad Ophelia and as a result I found it much more entertaining.

  20. Out of the four versions of Ophelia’s madness I enjoyed watching the Gibson version the most. When I picture what Ophelia looks like and the way she would act, the Gibson version came closest to perfecting it. I feel that in the Gibson version Ophelia is portrayed to be more eccentric and is truly mad, rather than demonstrating a fake manner of insanity like Hamlet does. Ophelia is first seen looking over a set of stairs and only her eyes and forehead are visible. This type of lurking behaviour that Ophelia demonstrates adds to her madness in the scene. When Ophelia is asking “Where is the beauteous majesty of Denmark?” (4.5.21), her voice becomes very demanding and frantic, showing again how she is truly mad. Along with Ophelia’s mannerisms, the outfit which she is wearing is very tattered and dirty showing that she is very dishevelled. Overall, the Gibson version did the best in portraying Ophelia’s madness within this scene.

  21. Out of the four version’s portraying Ophelia’s madness, I enjoyed the Zeffirelli version, where Ophelia is played by Helena Bonham Carter. The first scene where Ophelia is slowly creeping over a stone wall outside the castle was a brilliant move by director Franco Zeffirelli, as it is the best introduction to Ophelia’s madness. The introduction to Ophelia’s madness in the Zeffirelli version leaves you with no question as to the degree of her insanity. I found Zeffirelli’s version leaving me with no question as to who Ophelia was, where is in Oliver’s version it was initially confusing who Ophelia was. Carter suits the role of Ophelia perfectly as an actor. She has a natural talent of feigning madness (so does Hamlet), and is even apparent in her other career roles, such as Sweeney Todd: The Demon Barber of Fleet Street (2007), where she plays an insane baker. In the Gibson version, the way Ophelia interacts with the guard at the beginning of the scene proves to the audience, and even to the other characters, that she is in fact insane. Visually, Carter best suits the role of looking insane.

  22. Out of the four versions of the Ophelia madness scene, I enjoyed the Gibson version the most. The portrayal of Ophelia was superb. Ophelia, played by Helena Bonham Carter, looks like an innocent girl who truly goes mad. In my opinion, madness does not have to be something as crazy as what happened in the Kenneth Branaugh scene, but is more like a subtle (a subdued insanity), as shown in the scene in the Gibson version. She has gone insane, but is innocent at the same time. By showing her at the beginning of the scene sneaking around shows that she is still like a child (innocent) but is also mad at the same time (what she does to the guard). I think it is a nice blend of innocence and insanity that makes the Helena Bonham Carter portrayal of Ophelia truly believable.

  23. After seeing the four interpretations of Ophelia’s madness I felt that the Gibson portrayal was the most realistic. She was dressed the most appropriately. The rags were great because Ophelia didn’t care what she was wearing because she doesn’t care how she looks. The straight jacket was a little too obvious for it to be used effectively; we get it, she’s crazy. The dress in the Olivier version was too elegant. Ophelia is crazy she does care what or how she appears to other people. As for her behaviour she seemed most realistic in the Gibson version. She seemed oblivious or close to oblivious of the consequences of her actions or how the rest of the people perceived her. The Hawke version was too short and also the screaming was good but seemed to be used abruptly; it did not flow with her dialogue. The Branaugh Ophelia was good as well but was too depressed and not crazy enough. Therefore I enjoyed the madness of Ophelia in the Gibson version the best.

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