Posted by: Book MMS
Cast: Sofia Mesquita (Ophelia)
Credits: Made by Anaïs Dujardin, Chrystel Orsati, Mélodie Simon. Music by Julien Ruggiero, Amandine Glauser
There is only one Ophelia, and she is drawn to water. Were this film and its protaognist given any other name we would probably see no Shakespearean connection at all, but with the name the film turns into a tantalising, mysterious gloss on Shakespeare’s character. A young woman, in distress at thoughts unspoken (there are no words), gets out of bed and wanders through a house littered with empty water bottles. She is desperate for water (what exactly for is not made clear) and eventually climbs into an empty bath, where she would appear to fall asleep. The camera tracks back, revealing a trail of the empty bottles.
This rough-edged film has a rawness to it, a sense of something personal that had to be expressed but equally needed to remain hidden (the comment function on Vimeo has been disabled for the video). It is also slightly absurd, so that the film teeters on the edge between sorrow and silliness. It is a striking example of the considerable number of Ophelia-themed videos out there, part of a larger online cult that had spread across forums, video and photo-sharing sites in which young women variously inhabit the character Ophelia. Alan R. Young’s essay and website Ophelia and Web 2.0 usefully analyses the phenomenon (including comments on the convenience of choosing bathtubs over rivers or ponds in which to recreate Ophelia’s end). He concludes:
If treated with something like the same intellectual respect now increasingly given to film and television appropriations, the Web 2.0 images and videos of Ophelia’s death will be seen, not as a mere interesting digression away from a Shakespeare-centric world, but as a valid contribution to an already large and ongoing commentary upon Ophelia and upon Gertrude’s speech describing her death.
Indeed this is no digression but rather an extension of Shakespeare’s art into our post-modern world (even if it is arguable whether the greater influence may be Millais rather than Shakespeare, as it is the image of the drowned Ophelia in Millais’ painting – midway between life and death, midway betwen air and water – that so often provides the template for these imaginings). As with online video Shakespeare overall, we see his plays spilling out naturally into the media of our times. If we are looking for Ophelia today, she will be as much on YouTube as she is on the stage or printed page.