성공한 ‘나쁜’ 여자, 오필리아―영화 <오필리아>의 오필리아 재현
The Portrayal of a Successful ‘Bad’ Woman, Ophelia, in the Film Ophelia
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This article argues how Claire McCarthy’s film Ophelia (2018) reframes Lisa Klein’s novel Ophelia (2006), a revision of Shakespeare’s Hamlet, through the eyes of Ophelia, endowing her with the same subjective power and position as Shakespeare’s Hamlet. In the film, Ophelia is depicted as a ‘bad’ woman who defies approved standards of conduct in 14th century Denmark and masquerades, especially as one who behaves in a wild or rebellious manner. But McCarthy portrays her as an independent comic heroine who fulfills her wishes for a peaceful life outside of patriarchal marriage. The strategy taken by the ‘bad’ Ophelia to become independent is ‘distancing,’ that is, ‘observation’ and ‘masquerade.’ Based on the power of reason, she observes the ruling class of the Elsinore palace from a distance, and devises subtle strategies to avoid getting entangled in Elsinore’s violent power struggles. However, Ophelia seems to have recognized the limitations of this theatrical ‘distancing’ strategy and overcomes them by establishing female bonds. While building close relationships with Gertrude and her twin sister, Mechtild, Ophelia brings them to enlightenment by exposing Claudius’s true identity. As soon as they wake up with Ophelia’s help, the two women begin to take initiative to get revenge on Claudius and destroy his palace. The solidarity in these female bonds transcends generations and opens a new path for Ophelia to live. But Ophelia in some ways reflects the image of women in modern times. Just as Craig Gillespie’s film Cruella (2020) gave the heroine Estella—a ‘bad’ woman who succeeds as a genius designer—the qualities of a modern ‘desirable’ woman, McCarthy’s Ophelia makes Ophelia—considered a ‘bad’ woman in the 14th century—an example of a modern ‘desirable’ woman.
Abstract
This article argues how Claire McCarthy’s film Ophelia (2018) reframes Lisa Klein’s novel Ophelia (2006), a revision of Shakespeare’s Hamlet, through the eyes of Ophelia, endowing her with the same subjective power and position as Shakespeare’s Hamlet. In the film, Ophelia is depicted as a ‘bad’ woman who defies approved standards of conduct in 14th century Denmark and masquerades, especially as one who behaves in a wild or rebellious manner. But McCarthy portrays her as an independent comic heroine who fulfills her wishes for a peaceful life outside of patriarchal marriage. The strategy taken by the ‘bad’ Ophelia to become independent is ‘distancing,’ that is, ‘observation’ and ‘masquerade.’ Based on the power of reason, she observes the ruling class of the Elsinore palace from a distance, and devises subtle strategies to avoid getting entangled in Elsinore’s violent power struggles. However, Ophelia seems to have recognized the limitations of this theatrical ‘distancing’ strategy and overcomes them by establishing female bonds. While building close relationships with Gertrude and her twin sister, Mechtild, Ophelia brings them to enlightenment by exposing Claudius’s true identity. As soon as they wake up with Ophelia’s help, the two women begin to take initiative to get revenge on Claudius and destroy his palace. The solidarity in these female bonds transcends generations and opens a new path for Ophelia to live. But Ophelia in some ways reflects the image of women in modern times. Just as Craig Gillespie’s film Cruella (2020) gave the heroine Estella—a ‘bad’ woman who succeeds as a genius designer—the qualities of a modern ‘desirable’ woman, McCarthy’s Ophelia makes Ophelia—considered a ‘bad’ woman in the 14th century—an example of a modern ‘desirable’ woman.
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