Review: Kenneth Branaugh’s Hamlet

It’s hard for me to be objective about this film. I watched it when I was 16, and it started my lifelong love affair with Shakespeare. For the vast majority of people, I feel this movie will not appeal- it’s Shakespeare, it’s set in the past, and it’s FOUR HOURS LONG! That said, I ADORE this movie, and I probably always will.

The Concept

There is a long tradition of actors directing and starring in Hamlet from Irving to Garrick to Olivier and Guilgud. It’s very much an actor’s play and since the lead part also orchestrates much of the action, it’s understandable that he or she would also want to direct.

Once Kenneth Branaugh started filming this film, he had already played the part onstage and as a radio play. Branaugh’s director, Derek Jacobi, was himself a celebrated and acclaimed Hamlet of the 1970s, and Branaugh would later cast him as Claudius in the film. So, once he approached making the film, Branaugh had lots of experience behind him.

Clip from the documentary “Discovering Hamlet” which shows the whole process of Branaugh’s 1990 production, directed by Derek Jacobi.

Much like Antony Sher, Branaugh was aware that any film he made, would probably be compared to Laurence Olivier’s 1948 film. Sir Laurence’s film was dark, gothic, focused on dark, Freudian psychological disorders, and was mostly a star vehicle for Olivier himself.

Short review of Olivier’s Hamlet, (1948).

Branaugh’s concept was to do an inverse of Olivier- his castle Elsinore is bright, more modern, set in a sort of Napoleonic era, with cannons, muskets, and soldiers with mutton chops. While Oliver’s film was a contemplative look at the protagonist’s mind, Branaugh’s film focuses on intrigue and court drama. One of my favorite features of the film is Branaugh’s use of a hall of doors that contain two-way mirrors. In this castle, you never know who’s watching you.

Original theatrical trailer

The setting

While most of the castle was shot at Shepperdon Studious in England, Branaugh filmed most of the exterior shots at Blenheim Palace, the home of the Duke of Marlborough, and Sir Winston Churchill:

https://virtual.blenheimpalace.com/

The Plot Of the Play

https://study.com/academy/lesson/shakespeares-hamlet-character-analysis-description.html

The Controversy- the longest Hamlet ever filmed

Unlike every other Shakespeare movie, Branaugh chose not to cut a single line of Hamlet, which is why his version is four hours long. He chose to use the text of the second Quarto of 1603, the longest edition of the play.

https://www.bl.uk/treasures/shakespeare/playhamlet.html

I am deeply conflicted about this choice. On the one hand, the long run time makes it nearly impossible to show the whole movie in a classroom or a theater. On the other time, like Gone With the Wind or Dr. Zhivago, what Branaugh has done is created an epic full of lush settings, gorgeous music, and incredible performances that will at least always be remembered as an incredible artistic achievement.

The Cast

Hamlet is Shakespeare’s longest part and has 40% of the dialogue, which means Branaugh has the majority of the screen time. Yet, Branaugh isn’t the biggest star in the film. His casting choices emphasize the notion that, since anyone can enjoy Shakespeare, anyone can perform it too. With only two exceptions, I love every performance in the film. Here are some of my favorites:

Nicholas Farrell as Horatio

Nicholas Farell as Horatio

Horatio is a rather thankless part, since mostly what he does is give Hamlet someone to talk to. In one production I saw, they did away with the part entirely and made the audience Horatio. That said, Farell does a beautiful job portraying Horatio’s patience, boundless empathy, and his slow discovery of these “carnal, bloody, and unnatural acts.” Just watch how heartbroken he is as he watches Hamlet slowly die:

Clip of Nick Farell as Horatio from Act V, Scene iii of Hamlet.
Brian Blessed as “The Ghost”

Brian Blessed As “The Ghost”

As I said in my review of “Henry V,” Branaugh usually assigns the core of his cast to his Renaissance Acting Troupe. Accordingly, Branagh cast Brian Blessed as the Ghost of Hamlet’s Father. Brian already is a physically imposing man (he’s actually climbed Mount Everest), and we see through flashbacks that when he was alive, the former king was a powerful, warlike ruler, yet tender to his wife and son.

As the ghost, however, Blessed seems shaken to his core, which might be due to the pain he suffered as a result of the murder, or (as I mentioned in my Shakespeare On Ghosts Post), he might also suffer in the afterlife because Claudius killed him while he was sleeping. Seeing such a powerful man worn to a whisper and full of pain and fear, is a great way to spur Hamlet to his revenge.

Charlton HEston as the player king

When the company of players arrive in the middle of Act II, Scene ii, Hamlet is filled with joy and treats the Player KIng like an old friend and surrogate father. I’ve seen productions where the same actor plays the Ghost and the Player King, which helps drive this point home.

In the play, the Player King inspires Hamlet with a passionate speech. Hamlet at first muses how, while the Player is able to conjure emotion and tears when talking about the fictional Queen Hecuba, Hamlet has done nothing yet to revenge the Ghost. Then, thinking about the Player’s performance gives Hamlet the idea to stage a play-within-a-play, to test whether or not Claudius is guilty:

About, my brain! Hum, I have heard
That guilty creatures, sitting at a play,
Have by the very cunning of the scene1665
Been struck so to the soul that presently
They have proclaim'd their malefactions;
For murther, though it have no tongue, will speak
With most miraculous organ, I'll have these Players
Play something like the murther of my father1670
Before mine uncle. I'll observe his looks;
I'll tent him to the quick. If he but blench,
I know my course. Act II, Scene ii, lines 1663-1674

With all this in mind, The Player King is very important to Hamlet’s journey and Heston’s mighty delivery is inspiring and full of passion.

Robin Williams as osric

Robin Williams as Osric

It seems like an insane idea; cast a stand-up comedian in a Shakespeare movie? Yet, in fact, the late Robin Williams was a classically-trained actor and studied at New York’s Julliard academy, so he must have done Shakespeare in the past.

Branaugh clearly loved working with Williams. Not only did he keep all of Osric’s lines (like all the other lines in the play), Branaugh gave Williams more to do, making him basically a second Horatio who cares for Laertes in the final act of the play.

Usually Osric is played as a classist-joke. He’s a sychophant, a social climber who, because he wasn’t born a noble, the nobles treat him as a suck-up and a fool. Williams gives Osric much more warmth and depth, in addition to his manic charm. Branaugh even gives him a tragic death, to make him stand out even more!

Kate Winslet as Ophelia

Five film versions of Ophelia compilation.

I summarize Ms. Winslet’s performance in one word: Heartbreaking. In Oliver’s version, she seems like an airhead, and Helena Bonham Carter plays the part as sort of a rebellious teenager. Winslet’s performance is just as if not even more tragic than Branaugh’s and it is truly heartbreaking to see her journey.

In the 1990 stage production of Hamlet, Jacobi decided to turn “To Be Or Not To Be” from a soliloquy into a speech that Hamlet says to Ophelia, which then plants into her mind the ideas of madness and suicide that she herself follows to their tragic conclusion. In Branaugh’s film, it seems very clear that he gave Winslet that same direction, (even though the speech is filmed like a soliloquy). Before “To Be” and the subsequent “Get Thee to A Nunnery” scene, Winslet’s Ophelia is happy, sweet, obedient to the men in her life, but still her own person. We see in flashbacks her sneaking off to be with Hamlet and she seems to enjoy her secret romance (probably Branaugh pulled some ideas from her role in Titanic too). But Polonius and Laertes shut her down at every turn and keep her from being with Hamlet. Winslet shows beautifully Ophelia’s struggle to be an obedient daughter and Hamlet’s girlfriend.

In the “Get Thee To a Nunnery Scene,” it’s not clear whether Hamlet knows he’s being watched (at first), so when he speaks to her gently, he might be trying to get her to leave to protect her. But once Polonius audibly closes a door, Hamlet is full of mysogynistic fury. Again, he might be playing mad in order to deceive Claudius and Polonius, or he might be genuinely mad at Ophelia for going along with this attempt to spy on him, but in any case, It certainly breaks her heart, and Winslet plays that heartbreak with a great deal of skill and passion.

Billy Crystal as the Gravedigger

Billy Crystal as the Gravedigger

Again, it seems bizarre to cast an American comedian as a Shakespearean character, but Crystal did a great job making this 400 year old comic bit seem like he wrote it himself! Plus, Crystal listens very quietly and attentively during the “Alas Poor Yorrick” speech, and doesn’t pull focus.

Kenneth Branaugh as Hamlet

Even though this was a four-hour Shakespeare movie of a play I had not yet read, at 16 I was hooked by Branaugh’s performance. Like Olivier before him, Branaugh knows Shakespeare’s reputation as being boring and out-of-touch, so his film is full of violence, sex, and manic energy. This also comes across in his own performance. Branaugh lost weight and dyed his hair to appear younger and attractive (since he knows Hamlet is supposed to be just out of college). He fills the mad scenes with a dark and silly sense of humor, and he plays the angst of Hamlet in Act One very much like a grieving teenager, lashing out at his stepfather and his mother.

That said, Branaugh is also capable of great depth and gravitas in the soliloquies. I particularly love his delivery of “How All Occasions Do Inform Against Me…” soliloquy in Act IV.

The long tracking shot makes it look like Hamlet is expanding his worldview as he contemplates his role in the play, after failing to avenge his father’s death. It’s almost like this young man is growing up in the course of the movie; from a confused and angsty little rich kid, to a man who would make a good king if his life wasn’t tragically cut short.

For a more sober audience, Branaugh’s energy could probably be seen as annoying and lacking subtlety, but for 16 year old me- I ate it right up.

Notable Moments

  1. Branaugh’s interpretation of “To Be Or Not To Be.” Every actor who takes on Hamlet frets over the problem of how to make this speech engaging and fresh. Fortunately, Branaugh did a great job of staging and delivering this speech for the screen. He uses the two-way mirrors brilliantly creating an atmosphere of suspense where Claudius and Polonius are watching this speech, but it’s not quite clear whether Hamlet knows they’re there. His delivery is hushed but intense. It seems like he’s trying to unnerve Claudius without letting him know Hamlet plans to murder him. Everything from the performance, to the filming, to the setting is iconic, and no matter what people think of the film, this version of the speech should be remembered as an achievement in and of itself.

2. Kate Winslet In “The Mad Scene” Just as “To Be Or Not To Be” is the test for any Hamlet, Ophelia’s greatest challenge is the Mad Scene, Act IV, Scene v. After her brother leaves, and her boyfriend is banished for murdering her father, Ophelia has nothing left to lose, except her mind. Many actresses play the mad scene as a chance for Ophelia to let loose, and explode with all the pent-up emotions she’s been repressing- rage, sexual desire, grief, etc. Winslet plays all of them and is very distinct when and why they hit. She refuses to let the men in the court touch her, except for Laertes, and seems disgusted by Claudius. With her brother, she seems to regress into a childlike state, pretending to hold flowers to give to him. The only lucid moment she has is when she quotes songs (simmilar to the Fool in King Lear), where she expresses sorrow that Hamlet abandoned her, grief for her father, and a nihilistic sadness that her life no longer matters, much like the frustration Hamlet expresses in “To Be Or Not to Be.”

Kate Winslet in the mad scene, (Act IV, v)

3. All of Act II, Scene ii. I found myself rewatching this scene, the longest scene in the play. It’s the scene where Polonius claims Hamlet is mad for Ophelia’s love, where Rosencrantz and Guildenstern spy on Hamlet, the Player King delivers his aforementioned speech, and Hamlet has his “O what a rogue and peasant slave am I” soliloquy.

Every performance is fast-paced and entertaining. Even Don Warrington, as the often-cut character of Voltimand, who only gives one long speech about how Fortinbras is totally NOT GOING TO INVADE DENMARK, captivated my ear with his beautiful voice. The drama keeps coming as new characters keep coming in and interacting with Hamlet, and his mood changes drastically throughout the scene; he’s silly and condescending to Polonius, jovial to the players, guarded and brooding to Rosencrantz and Guildenstern, and tortured and full of grief and remorse once he’s finally alone.

Branaugh actually starts the soliloquy with Hamlet taking a series of huge, heaving breaths as if performing for all of these people is truly exhausting. It’s almost like a movie within a movie, and everyone is wonderful in it.

4. The Duel As I detailed in my post on the duel at the end of Hamlet, there are three separate bouts which each have a different feeling- ranging from a sporting fencing match to a deadly blood combat. Branaugh shows the character shift of the duel incredibly well, with his use of music, choreography, and costume. First, the combatants meet before the king, dressed in their white fencing uniforms. Their fight is quick and agressive, but not yet tense or lethal. Then, once Gertrude takes the poisoned cup, the action stops. Claudius is frozen and his voice is only a whisper. Laertes starts to ramp up the tension as he prepares to really attack Hamlet, which he does by slashing his uncovered shoulder!

The climactic duel between Hamlet and Laertes, with Hamlet, finally taking revenge on Claudius (Derek Jacobi).

From this moment in the duel, all Hell brakes loose. Branaugh chases Michael Maloney all around the castle, not stopping until he grabs Laertes’ sword. Meanwhile, Osric shouts for help as Gertrude is dying near the throne. A string quartet ramps the music up up to a wild, whilrling low-pitched tremulo, with the violins playing pizzicato on top. Plucking their strings like the lethal poison that plucks all the characters’ lives.

My Reaction

Even though this film is long, I adore every scene. Branaugh’s boundless energy and endless love of Shakespeare translate through his direction and performance. At the same time, he lets the other actors shine and takes to heart the lessons of Olivier, Gielgud, Jakobi, and others to create a Hamlet that is epic in scale, beautiful to the eye, and timeless in its handling of the material. Clearly, Branaugh wanted this film to be his masterpiece, and whether you like it or not, it certainly is that.

My advice is If you choose to watch it yourself, read a summary of the play first, then watch the film. Also, take some breaks in between the scenes and watch it in chunks. I actually taped it off of live TV so I could watch it in segments.

If you like this analysis, you might be interested in signing up for my Outschool Course on Shakespeare’s Tragedies. I also have a class on Shakespeare’s writing where I analyze “To Be Or Not to Be:”

The Roman Army Under Julius Caesar

Julius Caesar’s success as a politician was deeply tied to his success as a military leader. Therefore studying the Roman army during Caesar’s life helps one understand why he was so popular and why the Senate wanted him dead.

With The Seventh, Eighth, And Ninth Legions, The Tenth - Military Uniform (1000x475), Png Download
Uniforms of the 10th Legion (Julius Caesar’s Legion) during Caesar’s life, the reign of Augustus, and afterwards.

Caesar was commander (or legatus legionis) of the 10th mounted legion, which means his soldiers were mounted on horseback. Caesar was in charge of maintaining control over the warring tribes in Gaul (modern day France). Each legion was organized into 6 companies (cohorts) of 100 men, led by a Centurian, Source : http://thedioscuricollection.com/ejercito_romano_en.php

Organization of the 10th Legion. As you can see from the key below, each company of 80 to 100 men is led by a Centurian, and each company has 3 Tesserarius (watch commanders)

According to Imperiumromium.com, Caesar helped reform his army, and his Centurians carried out many different campaigns in Gaul:

As you can see, his soldiers were mainly armed with helmets, leather armor, and their large shields and Gladius swords. Below is an exploration of the different parts of the Roman uniform:

https://costumes.lovetoknow.com/roman-soldier-uniform

Activities for Students and Teachers: Macbeth Escape Room

https://sites.google.com/view/osmacbethescaperoom/home

I made a digital escape room for Macbeth, as part of my Outschool.com class, “Macbeth: An Immersive Educational Experience,” which you can register for at a discount this week only. I’m presenting this digital escape room as an activity for teachers to teach their student’s knowledge of the plot of the play and use their observation and research skills to escape from a “cursed castle.”

What Is a digital escape room?

In a normal escape room, you are locked in a room and have to follow clues and solve puzzles in order to find a series of keys, codes, and combinations to unlock the door and get out of the room. In a digital escape room, you solve online puzzles and use passwords and key codes to unlock some kind of digital content.

My escape room is designed to test your knowledge of the play, give you a chance to learn about the history behind it. Most escape rooms use the a variety of locks such as:

  • Standard combination locks
  • Direction locks (where the lock has arrows taht you have to push in the correct direction, in the right order).
  • Color locks (where we put different colors in a sequence.

A digital escape room uses these concepts and adapts them to work within the context of a website or other digital experience. For example, I made a direction lock based on the direction a dagger points and made a short animation of a dagger with the text of Macbeth’s famous dagger speech.

The student has to surf through five webpages to find the answers to the puzzles, then imputs the answer in a Google form. Once he or she unlocks all six puzzles, they are permitted to leave the witches’ castle. Here’s a preview of the puzzles:

Part I: The Gate

There’s a website called Flippity which allows you to make little online puzzles so I embedded it on one page of my website. In this case, it has six locks that you have to unlock by typing answers to trivia questions related to “Macbeth,” such as “What object appeared to Macbeth before he killed the king?” The final lock requires you to read a short article on the curse of Macbeth, so you can enter it on the website.

Part II: The Magic Mirror

There’s a website called a magic mirror, which if you click on the mirror, it hyperlinks to an image that spells out the next answer for the Google form.

Part III: Birnam Wood

I wanted to teach the students about verse scantion and what an iambic pentamer iine is. I wanted to get the class to learn the pattern of unaccented beats (which Shakespeare scholars mark with a U), and accented beats marked with a /, as in the couplet below:

To get the students to practice making an iambic pentameter line, I embedded a Google Slides presentation in the website which has pictures of unarmed and armed soldiers. A key indicates that you are to count the soldiers and input the U/U/ pattern into the Google Form:

Screenshot from my Birnam Wood Activity.

So, there’s a preview of the Digital Escape Room I hope this inspires you to try this type of activity in your class. If you want to use this activity, shoot me an email and I’ll give you a teacher’s guide. Please also consider signing up for my Outschool.com class!

Activities for Students and Teachers: Macbeth Escape Room

https://sites.google.com/view/osmacbethescaperoom/home

I made a digital escape room for Macbeth, as part of my Outschool.com class, “Macbeth: An Immersive Educational Experience,” which you can register for at a discount this week only. I’m presenting this digital escape room as an activity for teachers to teach their student’s knowledge of the plot of the play and use their observation and research skills to escape from a “cursed castle.”

What Is a digital escape room?

In a normal escape room, you are locked in a room and have to follow clues and solve puzzles in order to find a series of keys, codes, and combinations to unlock the door and get out of the room. In a digital escape room, you solve online puzzles and use passwords and key codes to unlock some kind of digital content.

My escape room is designed to test your knowledge of the play, give you a chance to learn about the history behind it. Most escape rooms use the a variety of locks such as:

  • Standard combination locks
  • Direction locks (where the lock has arrows taht you have to push in the correct direction, in the right order).
  • Color locks (where we put different colors in a sequence.

A digital escape room uses these concepts and adapts them to work within the context of a website or other digital experience. For example, I made a direction lock based on the direction a dagger points and made a short animation of a dagger with the text of Macbeth’s famous dagger speech.

The student has to surf through five webpages to find the answers to the puzzles, then imputs the answer in a Google form. Once he or she unlocks all six puzzles, they are permitted to leave the witches’ castle. Here’s a preview of the puzzles:

Part I: The Gate

There’s a website called Flippity which allows you to make little online puzzles so I embedded it on one page of my website. In this case, it has six locks that you have to unlock by typing answers to trivia questions related to “Macbeth,” such as “What object appeared to Macbeth before he killed the king?” The final lock requires you to read a short article on the curse of Macbeth, so you can enter it on the website.

Part II: The Magic Mirror

There’s a website called a magic mirror, which if you click on the mirror, it hyperlinks to an image that spells out the next answer for the Google form.

Part III: Birnam Wood

I wanted to teach the students about verse scantion and what an iambic pentamer iine is. I wanted to get the class to learn the pattern of unaccented beats (which Shakespeare scholars mark with a U), and accented beats marked with a /, as in the couplet below:

To get the students to practice making an iambic pentameter line, I embedded a Google Slides presentation in the website which has pictures of unarmed and armed soldiers. A key indicates that you are to count the soldiers and input the U/U/ pattern into the Google Form:

Screenshot from my Birnam Wood Activity.

So, there’s a preview of the Digital Escape Room I hope this inspires you to try this type of activity in your class. If you want to use this activity, shoot me an email and I’ll give you a teacher’s guide. Please also consider signing up for my Outschool.com class!

The Plot of Macbeth

This video is part of my Outschool course “Macbeth: An Immersive Horror Experience.” I use it to explain the plot of the play before playing a game and an escape room to test the student’s knowledge. Let me know in the comments what you think of it, and if you like it, please consider signing up for the course on Outschool.com

New Outschool Course: Macbeth

Just in time for October, I’m offering an online class for kids ages 13-18 about Shakespeare’s most spooky and cursed play:

If you follow this blog you know I’ve written a lot about this play before. Though this class will be more like a game where I teach the class using multimedia, games, and a digital escape room!

Me in my Shakespeare gatb

I’ll start by speaking to the students in character as Shakespeare, and tell them the story of Macbeth using a multimedia presentation.

I will then test the students’ knowledge with a fun quiz that was inspired by the popular mobile game Among Us. As you know, the game is similar to a scene from the play, so I thought it would be an appropriate way to test the kids’ knowledge.

Screenshot from the Gimkit game “Trust No One.” Like Among Us, players need to figure out who the Imposter is, but they greatly increase the chances of surviving if they answer the quiz questions correctly.

The final part of the class is a digital escape room I’ve created. I don’t want to give too much away, and you can’t play it unless you sign up for the class, but let’s just say it’s fun, spooky, educational, and challenging!

Screenshot from my Macbeth Escape Room.

If you want to sign up now, the course is available every weekend in October, and then by request after that. Register now at Outschool.com. if you take the course, please leave me a good review.

Hope to see you soon!

Why Among US Is Like “Macbeth,”

Intro game play video from “Among Us”

My family is quickly falling in love with the hugely popular online gaming sensation “Among Us,” which if you don’t know, is a strategy game similar to the game “Werewolf,” where a lone player, (known as The Impostor), tries to ‘kill’ a group of people without arousing suspicion. Just like the kids game in “Among Us,” whenever someone gets murdered, the others try to figure out the identity of the murderer.

The fun and drama of the game definitely comes from the paranoia that the players inevitably experience, not knowing whom to trust. Is the murderer over there? Was she the murderer? Is she lying about where she was just now? And most importantly, who is next?

Shakespeare’s Macbeth taps into the paranoia not just of people afraid of being murdered, but even the paranoia of the murderer himself!

“Lady Macbeth and the Daggers” by Henry Fuseli, 1812.

Analysis of the scene: Act II, Scene iii:https://youtu.be/Pr4KmK9eXO0

Reddit thread comparing Among Us to Macbeth

After Macbeth kills the king and he and his wife cover up the blood, there is a council meeting where Ross, Macduff, Malcom, and Donaldbane try to figure out what happened. Macbeth and Lennox accuse the sleeping guards, but not everyone is sure. Watch this “interview” with the character Malcom, the crown prince, who suspects foul play: https://youtu.be/LIWjh59oBS4

While Malcom is nervous and suspicious, Lady Macbeth is the picture of composure, and grief (at least, while in public): https://youtu.be/yFJ5HYWdeMo

Macbeth’s strategy is pretty clever: blame someone else, then get them killed before anyone can question them. Very similar to the strategy I’ve seen impostors try in the game. In fact, there’s even a player who goes by the username: “King Macbeth.” He then justifies killing the guards by claiming that seeing them there threw him into a murderous rage, and he killed them to avenge Duncan’s death:


Macbeth
O, yet I do repent me of my fury,
That I did kill them.
Macduff
Wherefore did you so?
Macbeth
Who can be wise, amazed, temperate and furious,
Loyal and neutral, in a moment? No man.
The expedition of my violent love

Outran the pauser, reason. Here lay Duncan,
His silver skin laced with his golden blood;
And his gashed stabs looked like a breach in nature
For ruin’s wasteful entrance — there, the murderers,
Steeped in the colors of their trade, their daggers
Unmannerly breeched with gore. Who could refrain
That had a heart to love, and in that heart
Courage to make’s love known?

As a final bonus, here’s the entire play summarized through Among Us gameplay: https://youtu.be/HIp9MI5jpeI

Thanks very much for reading! If you liked this post, please consider signing up for my new “Macbeth” online class via Outschool.com. One really fun part of the class will be a quiz on “Macbeth,” inspired by Among Us!

Records of English witches

I’m giving a lecture Sunday about “Macbeth” and its relation to real magical traditions. Accordingly, I’ve looked up records of real witchcraft trials. Below is a database of cases from 1602-1635. “Macbeth” was supposedly written around 1605, so these cases are pretty close to the time period. It’s a fascinating, and sometimes gruesome look at the methods used to try people (mostly women) for an “invisible crime,” around the same time Shakespeare was dramatizing that crime onstage: http://witching.org/production/brimstone/detail.php?mode=city&city=London%20(Newgate%20Prison).