A Midsummer Night’s Dream

A Midsummer Night’s Dream is an idealistic humorous fantasy film, bottomed on the play, A Midsummer Night’s Dream by Shakespeare. The film transforms the pleasantry action of the 1800s from antique Athens to an Italian fantasy village by the name Monte Athena. The movie leaves the comedy’s paranormal, flimsy wings thus parting a tedious, earthbound case in its place. As Shakespeare’s Bottom is a deceive, self-possessed, and charitable slapstick comedian, Hoffman brings out an ill at ease, quickly dissatisfied Bottom. This paper will compare the two versions of the play, A Midsummer Night’s Dream by Shakespeare created by Angel and Hoffman.

Script

The initial film, which was written by Michael Hoffman and made in 1999, was an immense movie. It was positioned in the 1800s in the fantastic conurbation of Monte Athena Flockhart. Angel’s creation was the other film, which can be termed as an account movie. The Royal Shakespeare Company made it for the fourth channel. Angel’s film was created in 1985 and is produced by a producer by the name Adrian Noble. The movie was much more surrealistic for the reason that the storyline of the film was founded on a story of a dream that a young boy dreamt.

Scenery

One of the differences flanked by the two versions of A Midsummer Night’s Dream is the scenery and location of the film. In Hoffman’s film, the film is set in Umbria, Italy while in Angel’s movie the area where it was placed is in the imaginary Monte Athena town. The setting is full environmentalist scenery, as the outlook is viewed to be incredibly beautiful. However, the leprechaun human race is shadowy and additionally legendary. Cleaned out constructions formulate the place to look out of this world. In the nobles’ production, the stage is seen to be bare with little decorations and with only least amount of props.

Lighting and Color

Lighting and color are typically necessary for any film since films are mostly an illustration form of media. In the documentary by Hoffman, the colors seem to be very environmentalist and utilize the insipid colors and beautiful inoculations. The lighting has a kind of flight of the imagination world quality. There are many mysterious colors in the goblin world of the movie while the clothes of the fairies are bright, in which it can be said that the elves were symbolized by pinpricks of light.

Blocking

Hoffman’s film functions to portray correspondence flanked by the characters as well as between the worlds. A good illustration of this is shown in the variations of Hippolyta and Theseus versus Oberon and Titania who are habitually depicted as analogous in the movie and occasionally acted by the same actor. At the start of the film, Theseus tells Hippolyta of how impatient he was to get married to her, and as he tries to kiss her, Hippolyta turns her face away given the fact that it was not appropriate to be witnessed in public kissing. Titania and Oberon are moderately dissimilar in that they are not only represented as the same in power. Their clothes are more comfortable to take off and are less astringent. Oberon does not wear a shirt while Titania wears a dress that allows her to move liberally and easily. Further to this, on one occasion when the two fairies moved precedent to their dispute, they start kissing not quite but straight away, not concerned at all, about who could be watching them.

Dialogue change

Shakespeare’s play, A Midsummer Night’s Dream is among the most well-liked and regularly performed comical plays, and one of which has been transformed into a cinematic production has not much changed in its basic plot and dialogue, but the setting and some character traits have been altered. The play’s setting has been elegantly shifted from the sixteenth century Greece to the nineteenth century Tuscany. In Angel’s production, Bottom thinks he will become an auditor or an actor in which he starts by asking himself why ordinary people were so near to Titania. By setting the film in the nineteenth century, Hoffman has been able to include some modern inventions into the movie. In a broad-spectrum, it is seen that the two worlds do not mingle a lot and when they blend, they do chaos ensues. In Athens, every entity has a set and is on its purpose where records are used to document music, gramophones to play music and spoons to eat food. Many of the objects in the film go into the fairy forest world are used for the wrong purpose. Helena, Hermia, and Demetrius are seen in the forest with their bikes and Helena is spotted with hers in Athens.

In conclusion, the two films are of high quality, although I would have a preference of Hoffman film because of its rational and naturalist depiction. Furthermore, one can repeatedly watch, unlike the Noble movie. Hoffman’s film requires a lesser amount of knowledge of Shakespeare en route for understanding, in addition to being factual to life. Nevertheless, Angel’s movie is excellent and enhanced conditioned that one is familiar with the play and can envisage the prospects and the scenery.