The Four Lovers In 'A Midsummer Night's Dream'

The Four Lovers Scene as a Resolution from Previous Events and Continuation to Future Events in Hoffman’s A Midsummer Night’s Dream

In Michael Hoffman’s A Midsummer Night’s Dream, Act IV Scene I ends with Theseus finding the four lovers waking after an eventful night. This simple, joyous shot of the four lovers in a field, just outside the woods, separates past and future events. By using lighting, props, depth, composition, makeup, contrast, character placement and character proxemics, the director was able to set a lighthearted tone for the rest of the movie. When looking at the scene the dominant contrast is the four lovers, all similar in colour. Hoffman does this to bring our attention back to their storyline, as he raps up the movie
The characters are placed from left to right by their importance to the scene. Demetrius and Helena are meaningful because the director needs to point out they are a couple to continue with the plot. The frame is split into two halves, a couple on each side. The differences between the two sides of the frame portray that Helena and Demetrius are a product of the woods. The lighting in the left frame is darker, making the woods more prominent. The shadow that the shrubbery produces symbolizes that the new couple is still touched by the woods. On the right, Lysander and Hermia are bathing in sunlight. Sunlight is a symbol for awakening, meaning they have woken from the fairies spell, and are instinctively back in love with each other. The frame also has differences in setting and costume. Hermia and Lysander’s side of the frame is mostly green, expressing their natural relationship. On the other hand, Helena wears cloth representing the manufactured or fake love Demetrius has for her. The last difference between the two sides is highlighted by the fact that the frame is so tight. Because of the compact frame, the women’s hair stands out. Helena’s hair is wild and unruly, as if she still has a bit of the woods in her. On the contrary, Hermia’s hair is pulled back, reminiscent of the primordial love she had for Lysander back in
This decreases from the sexuality of the scene.Instead it puts a focus on the heart and the mind, referring to the foolish love that Shakespeare talks about in the play. The framing helps paint a romantic feeling, giving us a taste of the scenes to come. The angle of the camera is from above, as if the audience is floating just above ground. By doing this, Hoffman keeps the moment intimate, because we know that not anyone could be walking by. Since we know the setting is not busy, this also gives us an idea of the setting off camera, helping immerse us in the moment. Having the actors quarter turn toward each other makes the moment very vulnerable. Their bodies seem defenceless. It is important to note that though they still are facing the camera, they are also facing each other, thus pointing the vulnerability towards one another. This position also makes the moment seem more candid, and less like they are preforming. The characters intimate proximity from one another shows their love and affection. As the audience observes this romantic scene, they can’t help but notice Helena’s white sheet, resembling a wedding gown; foreshadowing a wedding and a happy