It is not surprising that Branagh's version of the scene in Gertrude's wardrobe also contains many differences. Even in this scene so marked by family dangers, the focus of Branagh's Hamlet remains on the theme of revenge. From the moment Hamlet arrives in Gertrude's room there is a screaming match. Gertrude is indignant and insulted, rather than hurt and frightened as in Doran's portrait. Even when Hamlet becomes more violent and physical with her, she still appears to be strong and almost an equal opponent. The killing of Polonius occurs in a similar manner, except that he is hidden behind a curtain instead of a mirror and Hamlet kills him with a dagger instead of a gun. This time difference is vital in the unfolding of this murder, because the “revenge” that takes place is much more personal with a dagger than with a gun. Hamlet is able to commit the murder from further away with a gun, creating a less practical image of murder and revenge. During Hamlet's line regarding the revelation of Gertrude's most intimate part, instead of simply referring to a mirror, the audience sees Hamlet trying to forcibly undress her. Where in Doran's film this undressing was entirely figurative, Branagh takes it more literally in his staging of the scene. For most of the scene, Hamlet and Gertrude lean into each other as if it were a heated argument, rather than Hamlet.