Comparison of a Play within a Play in Hamlet Essay

Hamlet also shows anger towards the female character, Ophelia as they interact with each other on a daily basis. He tells her that he has “heard of [her] paintings too, well enough; God hath given [her] one face, and [she] make[s] [herself] another. [She] jig[s] and amble[s], and [she] lisp[s], and nickname[s] God’s creature, and make[s] [her] wantonness [her] ignorance…to a nunnery, go” (3.1.153-157,161). As a result of this quote, Hamlet demonstrates strong anger as he insults Ophelia for her cosmetics and tells her that her flirtatious affections is her excuse for her stupid behaviour. Not only does Hamlet insult her because of his anger, but she does not defend herself either, which makes the situation worse. In addition, Hamlet not only undergoes his father’s death, but no one seems to grief over the death which is surprising, as he was the King of Denmark. The new King, Claudius asks Hamlet, “How is it that the clouds still hang on you?” (1.2.67). This quote shows King Claudius’ lack of grief towards King Hamlet’s death, oppose to when Polonius dies, he immediately tells Laertes, Polonius’ son, “I must commune with your grief” (4.5.213), Which again leads for Hamlet through the anger stage.

In another scene, Polonius orders Ophelia to return the gifts that Hamlet gave her, and to make her rejection of him unmistakable and absolute. Polonius believes that if she is the cause of Hamlet’s madness, this would be the proof. “That Hamlet loses his mental stability is arguable from his behavior toward Ophelia…” (Foster, par.16) In Branagh’s version, we see how terribly this tears Ophelia’s heart. When Hamlet sees her, he walks up to her, telling her how much he loves her. After Hamlet kisses her, she returns the love letters that he wrote back to him. She sees how crushed he is, which makes her feel even worse; but she also believes she has to do this because her father ordered her to. Hamlet tells her “Get thee to a nunnery” (William

Tender yourself more dearly, or—not to crack the wind of the poor phrase, running it thus—you’ll tender me a fool” (31). Here, Polonious clearly shows that he does not care as much as for Ophelia as he does for his reputation, suggesting that he thinks that women are inferior. In addition, Ophelia’s lack of refusal to being pushed around while submitting to her father’s oppression contributes to her being portrayed as a weak, frail woman. The single response to her father’s lecture on her relationship with Hamlet is “I shall obey, my lord” (31). She truly has no say in important decisions either. For example, she was asked to spy on Hamlet by her father and Claudius, and no option was provided to say no, simply because it was expected of her to follow the orders of the males present. As Polonius and Claudius spy on Hamlet and Ophelia, Hamlet and Ophelia’s dialogue shows the degradation of females. Hamlet says, “…for wise men know well enough what monsters you make of them. To a nunnery, go, and quickly too” (31), describing his disgust and lack of trust for women in marriages, thinking they are all uncommitted deceivers. Hamlet, as the plot progresses, eventually accidentally kills Polonius, leaving Ophelia with no close family and influences left. When she comes to the King and Queen insane, Claudius says, “Oh, this is the poison of deep grief. It springs all from her father’s death, and

Hamlet by William Shakespeare is a story about a king that was murdered by his brother and the prince has been asked by his father?s ghost to avenge his murder. The original story line has been altered a few times since it has been written. The original Hamlet the play and the altered Hamlet the movie are shown differently in many different ways. Hamlet the movie with Mel Gibson shows different things than the play, but there are three major differences between the two. The three major differences are in the way both of the productions start out, differences in the scene that the players put on a play, and differences in the way the productions end.

Tony Robbins said, “To effectively communicate, we must realize that we are all different in the way we perceive the world and use this understanding as a guide to our communication with others”. Shakespeare’s writing has had many different ways of being presented because people perceive it in different ways. Whether it is a literal representation or a spin, directors like to show viewers the way they perceive the text. In the movie version of Hamlet the director, Kenneth Branagh, wanted the viewers to find Shakespeare interesting and full of action and drama. Kenneth chose the right direction to go in to keep the audience’s attention but it

Many directors choose to make many different decisions when producing their version of Hamlet. Every actor portrays the character Hamlet in several ways making each version almost a new story. Mel Gibson's 1990 version and the 2009 David Tennant films are very different in style, scene omissions and several other aspects.

While both did their job of acting out the scene I believe Kenneth Branagh’s 1996 film does a much better job. Kenneth choose to act the scene in a very grand ballroom, which I think was appropriate due to the grandness of soliloquy itself. In the BBC version of the scene Hamlet is shown leaning against a pillar with such low-key lighting you can not tell what sort of room he is in. When Hamlet first enters the grand ballroom in the older movie he takes his time to begin speaking which is crucial between the transition between the last scene and the current scene. The length in speech gives the audience the chance to settle in for what they are about to hear. In David Tennant's version he quickly jumps into his speech not leaving much room for transition. The common audience does not understand every word of the Shakespearean language hamlet speaks and may lose interest while Hamlet continues to ramble on. The continued camera movement throughout Kenneth Branagh’s movies helps the audience to stay focussed on the movie even if they do not fully understand every word Hamlet speaks. During Gregory Doran’s movie, throughout the entire scene there are only two transitions and the camera never moves in either position. This adds to the viewer losing interest, not only are they bored by having nothing in the background to look at, due to the low-key lighting, they are bored by the complex English language Hamlet speaks and given only two transitions and no movements to maintain their interest. The first representation of the “To be or not to be” speech creates multiple plots to further add in maintaining the viewers interest. By placing the king and Polonius behind the two way mirror and having Hamlet walk to the exact mirror creates a sense of urgency that is non-existent in the BBC version. Having this extra story allows

The first instance of Polonius’ overbearing nature is seen in Act 1, scene 3, where Polonius is giving “advice” to his daughter about Hamlet. Once Laertes heads to the ship, Polonius instantly demands Ophelia to tell him what her brother told her. Polonius hears his daughter talk about Hamlet and immediately states her reputation in the eyes of others. He states, “Have of your audience been most free and bounteous…you do not understand you so clearly as it behooves my daughter and your honor,” (Act 1, scene 3, 93-98). He makes it clear that she is making herself very available for Hamlet and not conducting herself in a fashion that is appealing to her name. It’s obvious that Ophelia fancies Hamlet’s romantic advances on her, but Polonius doesn’t care for her independent thinking. He ridicules her calling her a “green girl” a “baby” for thinking that Hamlet’s offers of affection are real (Act I, scene 3, 101-105). The scene ends with Polonius reminding Ophelia that Hamlet’s intentions are not to love, but empty promises sought to advance in sexual acts. Although Ophelia strongly feels love for Hamlet, she listens to her father’s advice and ends the scene with “I shall obey, my lord,” (Act 1, Scene 3, 136).

She means a lot to him, but now she has rejected him (by returning his

“Revenge his foul and most unnatural murder” (I.V.31). In Shakespeare's play titled Hamlet, Lies, deception, and foul play are all encompassed into an iconic tale of revenge. The tragedy takes place in Denmark, following the death of Hamlet’s father, King Hamlet. Shortly after his death, King Hamlet’s brother Claudius marries, the Queen, who is prince Hamlet’s mother. The ghost of the dead king later shows himself to Hamlet in order to reveal that he was actually murdered by his own brother Claudius. After the ghost instructs Hamlet to avenge his death, he composes a plan involving false insanity, to discover whether Claudius really did kill his father and how to avenge his father's death. In comparing the original Hamlet play, to movie

One of the main differences in the two films is the setting, The original play is based in 1600s Denmark, which Branagh’s movie follows for the most part. His interpretation of Elsinore Castle is posh and colorful. There is much contrast in the colors and setting of the scenes, with some being in the bright common room of the castle, with others being in the catacombs or in the dark woods outside of the castle. Doran’s film has a more modern setting to it. The attire worn by the characters consist mainly of suits and modern dresses, compared to the more

It is interesting to note that Hamlet only puts his 'madness'; performance on for the characters he is suspicious of such as Claudius, Polonius, Gertrude, and Ophelia. When Hamlet is around Horatio, Marcellus, Rosencrantz and Guildenstern, the Players and the Grave-Diggers, he acts rationally. He changes his disposition with ease and speed. During Act 2, Scene 2, Hamlet is speaking with Polonius. When Polonius asks if Hamlet recognizes him, Hamlet replies that 'You are a fishmonger.'; He goes on to insult Polonius further and calls daughter Ophelia a 'good kissing carrion';. When Rosencrantz and Guildenstern appear, Hamlet begins to behave cordially again. He warmly greets his friends and engages them in light philosophical humor.

Hamlet abuses Polonius’ assumption that Hamlet is “mad” by constantly behaving as such around him. In the film, he appears disheveled, engages in wordplay, and even throws Polonius off a ladder. Mel Gibson’s acting choices make it clear that Hamlet is merely pretending because, as soon as Polonius is out of sight, he usually has a ponderous soliloquy devoid of the mad mannerisms present with Polonius. This manipulation is especially present in the scene in which Hamlet tells Ophelia that he never loved her (3.1). In the film, Hamlet sees the king, queen, and Polonius run to hide and watch the conversation. During the scene, Hamlet tells Ophelia sotto voce, “I did love you once” (3.1.116). Then, he yells, “I loved you not” (3.1.119-120). Gibson’s change in volume and tone of voice proves that he is not fickle, a

West’s interpretation of Ophelia’s character is not a consensus feeling among critics, so her innocence is challenged but not overturned. After Laertes’ departure, Polonius inquires of Ophelia concerning the “private time” which Hamlet spends with her. He dismisses Hamlet’s overtures as “Affection, puh!” Polonius considers Ophelia a “green girl,” incapable of recognizing true love: “These blazes . . . you must not take for fire.” He gets her assurance that she will not talk with Hamlet anymore.

Shakespeare’s Hamlet has countlessly been formatted into film depictions of the play. Each film seemed to be on one end of the spectrum of either being closely interpreted or completely remodeled a different idea of what Hamlet is. The film version of Hamlet released in 2000 seems to follow closely to the play in some aspects, yet at the same time having its own unique identity Despite there being many differences with the play Hamlet and the film adaptation of Hamlet (2000) by Michael Almereyda there are three categories that really stand out, those are the character portrayal, interrelationship between the characters, and some of the essential themes differ as well. Although there are many differences, one aspect that remains the same is the dialogue of the characters which stays true to the Shakespearean dialect.