In this version, Hamlet seems to have been waiting for Horatio. Though he welcomes him to Elsinore, he shows no surprise. "I do forget myself" is almost more of a friendly form of address. In Zeffirelli's elastic timeline, Horatio may have been there for some time, and only now gets an audience with the prince, who has, it must be said, kept largely to himself in dark rooms. We do know that the Ghost appeared to him only "yesternight", so this may place his appearance at well after the incestuous wedding. Hard to say.It's our first look at Horatio, played by Stephen Dillane (who recently played Jefferson in John Adams). He doesn't look quite as posh as other Horatios do, but the film's medieval stylings makes almost everyone look more like men-at-arms than scholars. Speaking of soldiers, three accompany Horatio rather than two. Is this a misreading of the play that would include Francisco in that party (the actor is credited as such)? Strange given that all three are relegated to bit parts. I'm thinking that Scene 1 was filmed but wound up on the cutting room floor. Their presence gives Hamlet pause. Why are they following him so closely? What are they doing there in company of his fellow student? He momentarily mistrusts the situation, and yet he speaks on.
Among the snips and cuts made to the scene is Hamlet's "In my mind's eye", but it's clear where Hamlet actually sees his father. I still grieve for the figure of speech. The line is no doubt cut because the Ghost has not yet appeared in the story, nor even been revealed. Horatio's question "Where?" would have seemed bizarre without our foreknowledge of its existence. Horatio's role may have been cut down to size, but Dillane still makes him the doubter of the excised Scene 1 by showing embarrassment about what he must tell Hamlet.
"Look, I know what I'm going to say will sound mad, but bear with me." Perfectly piched between two students of the same skeptical school. However, it is my belief that the staging of the telling of the tale works against its actual intent. Through another change of venue, Horatio and his merry men lead Hamlet to a more secluded spot. He takes him by the arm and he tells the story while walking. If there was ever a Hamlet where Horatio was set up as the evil mastermind, this is how you would do it. Though I'm sure it was done to keep things energetic, the image is that of the prince being taken for a ride.
Remember: In this version, we the audience haven't seen the Ghost as yet. Horatio could be fabricating the whole thing, and Hamlet may just be unstable enough to hallucinate the Ghost later (we'll explore that in the staging of the later scenes). As soon as there's talk of his father's spirit, Hamlet seems completely taken in, overwhelmed by emotion (which Gibson usually plays as being about to throw up). The biggest cut in this scene is the "test". This Hamlet does not doubt, nor does he question (which is at cross-purposes with his earlier mistrust). If Horatio IS trying to bring him down, you have to show it (visually, since the lines don't support it). Zeffirelli does not, and so the impression we get from this scene must be considered a flaw in his staging.Another change brought on by cutting the test, and perhaps the reason why it was actually cut, is the removal of any mention of the Ghost's armor. When we finally see the Ghost, he is in fact not dressed in armor, but in black robes. In losing Scene 1 and the Norway plot from Scene 2, we've already lost any mention of Denmark ever being at war. That, in turn, removes the ambiguity of Hamlet Sr.'s relationship with Gertrude. If he was not gone to the wars, it may indicate there was no room for an affair nor any overlap between the two brothers. We'll have to stay sharp when looking a future lines regarding this subject.
