Mel Gibson In Franco Zeffirelli's Hamlet

To play one of Shakespeare’s most complex roles successfully on stage or on screen has been the aspiration of many actors. William Shakespeare’s Hamlet has been the focus on various accounts throughout the 20th Century, each actor attempting to bring something unique and unmarked to the focal character. Franco Zeffirelli and Kenneth Branagh, both film directors, introduce varying levels of success on the screen through downright differences in ways of translation and original ideas. Zeffirelli’s much shorter interpretation of the film is able to convey the importance of Hamlet as a masterwork by using modern approaches to film but still capturing the traditional work behind Shakespeare’s well-known play.

The two film versions of Mel Gibson and Kenneth Branagh of Act IV in Hamlet show an amount of editing done by the directors. In the Mel Gibson version of Hamlet there has been many scenes left out that was initially from the play. However in the Kenneth Branagh version of Hamlet it includes the original version of Shakespeare’s Hamlet. The Mel Gibson film of Hamlet leaves out a large portion of the plot of Shakespeare’s play like the Fortinbras story in Act 4 Scene 4. Fortinbras is significant character in Hamlet since he is seen taking over the throne in Denmark near the end of the play and is considered an element of war. Therefore in Mel Gibson

Hamlet, the Prince of Denmark, begins as an admired and noble young man. However, fate and the turn of events lead the tragic hero the depths of his fortunes. The tragedy starts with the death of the heroic King Hamlet. His brother, Claudius is the successor as King of Denmark and married the protagonist’s mother. When a ghost of the late King Hamlet appears, Hamlet’s downfall begins. The ghost explains to Hamlet that Claudius killed his father “upon my secure hour thy uncle stole with juice of cursed hebona in a vial, and in the porches of my ears did pour the leperous distilment, whose effect holds such an enmity with blood of man” (1001). Hamlet then feels like he must get revenge against Claudius and sets out to plot how it will happen. King Claudius senses something suspicious about Hamlet and sends for Hamlet’s two

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.

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.

When comparing two different Hamlet movies I found that one scene in particular was obviously more different than the others. I compared Columbia pictures 1996 version with Kenneth Branagh playing the role of Hamlet versus BBC’s 2009 Hamlet in which David Tennant played the honorable role of Hamlet. When comparing both movies I found a lot of similarities but there was one major difference when I compared the “To be or not to be” scene. The scenes vary in multiple ways whether it is lighting, focus, camera movements, and even the actors that play Hamlet.

As read in the play this is a soliloquy spoken by prince Hamlet trying to contemplate death and suicide because of the pain and unfairness in life. This soliloquy in the play is suppose to be dramatic when Hamlet is speaking to himself while Ophelia is over hearing it. Compared to the movie the “to be or not to be” scene is taken in a BlockBuster store. In the movie, Hamlet is walking around the store saying the soliloquy to himself softly. As you can see it wasn't as dramatic as it was expected it to

In comparing the David Tennant version of Hamlet to other movie adaptations, it is clear that each one has it’s own unique way of presenting the story. The Mel Gibson version of hamlet takes place in a more traditional and medieval time. In adapting the play, this take on

From the beginning of "Mel Gibson's" Hamlet, the audience recognizes that the Prince is more subdued and introspective than in Branagh's version. Though this Hamlet is still angry with his mother, he seems more reluctant to express any disappointment in her direction. In the very first scene of the film, Gertrude asks Hamlet to stay in Denmark, and he consents in an immediate and submissive fashion. He then proceeds to drop to his knees and hug her about the waist. Gibson seems much more boyish and timid, but it is still safe to assume that he

Over the course of the past fifty years there have been many cinematic productions of Shakespeare’s Hamlet, some of which remain true to the text while others take greater liberties with the original format. Director Kenneth Branagh’s 1996 production of Hamlet was true to Shakespeare’s work in that the film’s dialogue was delivered word or word as it is presented in the text. In contrast, Franco Zeffirelli conducted his 1990 production of Hamlet in a much more liberal direction in which lines, scenes and characters were omitted from the film. I argue that from the perspective of an individual with moderate knowledge in Shakespearian literature, that the best film versions of Hamlet are those that take the most liberties from the text. I

The choice of actors and actresses further contributes to the presentation of gender in both films. As with any artist, their individual performances go on to contribute to an overall body of work that informs the public’s perception of that artist, leading to stars commonly being classified by their typical presentation, for example ‘bad boys’, ‘sweethearts’, and ‘heart throbs’. Zeffirelli selected two epic stars of the time to represent two key characters; Glenn Close as Gertrude and Mel Gibson as Hamlet. Both selections could not have been more apt or brilliant at laying the foundation for deep and memorable characters. In Gertrude, the audience is presented with a woman clearly conforming to a traditional

In William Shakespeare’s Hamlet there are many unanswered questions such as if Hamlet is really mad or if it is just an act. There are many film adaptations which use their movie elements in order to hint towards the answer of these questions. In Gregory Doran’s film interpretation Hamlet starring David Tennant, David Tennant truly shows the raw emotions of Hamlet. He shows how Hamlet feels through his movements and facial expressions. These little things allow the viewer to see the true meaning and intention behind Hamlet’s words.

Franco Zefferelli’s film, Hamlet, adapted from Shakespeare’s text, Mel Gibson’s Hamlet, struts and frets his life in Denmark, convincing almost everyone that he is “mad.” The film bases the question of whether or not Hamlet is actually insane almost solely on Gibson’s acting interpretations, but Zefferelli’s editing choices assist in making the point that Hamlet is not insane, but either in a fog of confusion and anger from his grief, or pretending to be mad to manipulate others.

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.

Disorientation might be the goal of the director in order to display Hamlet as insane. However, I prefer a Hamlet where his words matter and this version lacks that effect because of the disorientation. Mel Gibson’s Hamlet has the same approach as Branagh’s Hamlet but is successful. Gibson integrates movement into his performance by walking around in a crypt while contemplating death, which adds to the legitimacy of Hamlet’s desire to die. Gibson’s approach is successful because his surroundings add meaning to his lines instead of taking away from it.