In contrast, the Ghost controls Hamlet, and the Ghost's music is always presented in the same way: B-flat minor, and in half notes.
The character of Ophelia is always controlled by an influence outside of herself.
However, the one constant in all cues in which she appears is the use of the harpsichord. (4) In contrast, Ophelia does not have a particular melodic motive or theme associated with her character. Hamlet's music, initially heard at the outset of the film after the funeral bell tolls, appears over the course of the film, with various treatments, both melodic and instrumental, and in various keys depending on Hamlet's state at the time. Shostakovich's music focuses on three characters: Hamlet, Ophelia, and the Ghost. John Riley states, "The film score is one of his most symphonic, with clever and illuminating developments of the various themes" (96). (3) Kozintsev's longtime collaborator, Dmitri Shostakovich, composed the music for the film, which is his longest score, with over an hour of music present in the film. (2) One of the first authors to discuss Kozintsev's Hamlet was Jack Jorgens, who, in his book Shakespeare on Film, devoted an entire chapter to the film, as well as half a chapter to Kozintsev's King Lear, Jorgens views Hamlet as a "cinepoem, a masterful weaving together of themes and techniques, words and images" (x). Since Peter the Great had imported Western European culture, the Russians had a fascination with Shakespeare. Grigori Kozintsev's Hamlet (TaMnem), released in 1964, was his most successful film, and the most popular Shakespearean adaptation in the Soviet Union to that point.
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