Stage Intonations In Hamlet

The purpose of this report is to compare and contrast two movies made about Hamlet. I will present and discuss different aspects of the version directed by Kenneth Branagh to that of Franco Zefirelli. During this paper you will be presented with my opinions in reference to determining which version of Hamlet best reflects the original text by Shakespeare. I will end this paper with my belief and explanation of which movie is true to the original play.

He writes letters that proclaim his love for her. Yet when he starts to act crazy Ophelia questions his affection. She returns the letters to him and as she does this Hamlet yells at her, “Get thee to a nunnery, go. Farewell. Or, if thou wilt needs marry, marry a fool, for wise men know well enough what monsters you make of them. To a nunnery, go, and quickly too. Farewell” (Act 3, scene i). This conversation of course confuses Ophelia even more. It makes the audience question his feelings as well. No matter what his true emotions are toward Ophelia, he inconsiderately threw his built up feelings at her in a single moment. To bring Hamlet back to his typical behavior players come to the castle. When the players arrive they give Hamlet another hasty idea. He tells Horatio, “There is a play tonight before the king. One scene of it comes near the circumstance Which I have told thee of my father’s death… Observe mine uncle. If his occulted guilt Do not itself unkennel in one speech, It is a damnèd ghost that we have seen, And my imaginations are as foul As Vulcan’s stithy. Give him heedful note. For I mine eyes will rivet to his face, And after we will both our judgments join In censure of his seeming” (Act 3, scene ii). Hamlet hopes that the King’s reaction to the play will prove if he really killed his father or not. Putting together a whole fake play when he sees the players enter the castle

Hamlet’s relationship with Ophelia suddenly becomes complicated, after Hamlet’s encounter with the Ghost. It all starts when Hamlet first appears in Ophelia’s chamber pale and dishevelled, after receiving news from the Ghost that King Claudius had poured poison into his ear, and it was Hamlet’s duty to avenge the death of his father. Hamlet’s condition frightens Ophelia, as she runs off to tell Polonius about the encounter;” My lord, as I was sewing in my closet/ Lord Hamlet, with his doublet all unbraced/… speak of horrors—he comes before me” (2.1 87-94). Hamlet may express that he does not love Ophelia anymore, but his ill treatment towards her comes at the price of testing her loyalties towards him or her father Polonius, who is the eyes and ears of Claudius. As Ophelia runs off to Polonius, it is clear to Hamlet that he cannot trust Ophelia with such a deadly task at his hands. Behind all this phony madness, it breaks Hamlet’s heart to jeopardize his relationship with Ophelia for his own motivations, but it is an intricate decision he has to make. This is again evident in Act 3, scene 1, when Hamlet instructs Ophelia; “To a nunnery, go, and/ Quickly too. Farewell” (3.1 151-152). The only reason Hamlet would utter such bitter words to Ophelia, is because he trusts Ophelia will be kept safer there than anywhere near the kingdom. In doing so, Hamlet proves that he still cares for Ophelia and what they had, but he cannot manage their relationship at the same time getting revenge, because he’s too caught up in pursuing his own motives. Eventually, as Ophelia goes mad and dies,

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 use of security cameras throughout the film really helps to capture a sense of corruption, and also foreshadows the fact that something bad will happen within the kingdom. The Tennant version also alters the time period in which the story takes place by having it set in modern day times. This can be seen through costume choice, scenery, armory, and dialog between characters. Using this helps viewers to better connect and understand the storyline, since characters are in a setting that is more current. Tennant portrays Hamlet as truly mad, angry, and vengeful. His timing and delivery of lines gives watchers an excellent insight into the manic characterization of Hamlet, that shakespeare intended on. Hamlet’s insanity can be seen through his many outburst, body language, and pauses. The emotional state of Hamlet is delivered with the use of mirrors and cinematic zooming. This provides dramatic and emotional effect, since it seems as though Hamlet is speaking directly to the audience while also looking into himself for answers. Shakespeare's vision for Hamlet is truly captured in this film through cinematic angling and intense acting.

   One of the most emotional and moving scenes in William Shakespeare's tragedy Hamlet is in Act III, Scene I lines 90-155 in which the title character becomes somewhat abusive toward his once loved girlfriend Ophelia. It is interesting to examine the possible motives behind Hamlet's blatant harshness in this "Get the to a nunnery" scene toward the easily manipulated and mild mannered girl. While watching Kenneth Branagh and Mel Gibson's film adaptations of the play, the audience may recognize two possibilities of the many that may exist which may explain the Prince's contemptible behavior; Kenneth Branaugh seems to suggest that this display of animosity will help the troubled

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

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.

     In this play, the way others interpret Hamlets behavior is that he is insane. With Hamlet acting this way, he is driving everyone else insane because they cant figure out what is wrong with him. The way his mother interprets his behavior, at first, is that he is holding a grudge against her for what he has done. As the play progresses, Polonius tells Gertrude “Tell him his pranks have been too broad to bear with…” which proves that Hamlet’s condition is worsening in the eyes of everyone. As she speaks to Hamlet, she feels that her life is in danger due to the way that Hamlet is speaking to her. “These words like daggers enter mind ears…” is what Gertrude says to Hamlet because of the utter disrespect and the manner in which he is acting. The way Ophelia views Hamlet is that he turned into a different person. In Act II, scene i, she believes that if he really loved her, he wouldn’t have grabbed her by the wrists, held her hard, stared at her,

   Michael Pennington in “Ophelia: Madness Her Only Safe Haven,” elucidates the character of Ophelia in Shakespeare’s tragedy, Hamlet:

     Ophelia describes Hamlet as 'the courtier's soldier, scholar's eye, tongue and sword, Th'expectancy and rose of fair state, the glass of fashion and the mould of form, Th'observed of all observers (Act 3 Scene 1) He is the ideal man. But, after his madness and the death of her father she sees him as 'a noble mind o'er thrown!' (Act 3 Scene 1). Ophelia suffers from Hamlet's disillusionment; his attitude to her in Act 3 Scene 1 is hard to explain.  His faith in women was shattered by his mother's marriage and it is also possible that Hamlet knows that Ophelia has been ordered to seek him out- yet how strong could their love have been as there is little excuse for the

During this scene, Hamlet is being spied on by Polonius through his interactions with Ophelia to test if Hamlet is mad for her love. However, Hamlet loses his mind when Ophelia rejects him and proceeds by telling Ophelia, “Get thee to a nunnery” (3.1.121). The director uses a variety of camera angles and shots to successfully portrait his interpretations. For example, when Hamlet and Ophelia first meet each other in the scene, the camera angle is showing Hamlet in one side of the hallway and Ophelia in the other. The director is trying to show that they contrast each other as perhaps Hamlet represents reality and Ophelia represents appearance. Ophelia is pretending to not love Hamlet as she is ordered by Polonius to reject his love. However, Hamlet later finds out that Ophelia is being used by Polonius thus he finds out the truth. The director decided to add a noise during Hamlet’s interaction with Ophelia to raise Hamlet’s suspicion of being spied on. Thus Hamlet asks, “Where’s your father?” (3.1.131) however, in the book, there is no stage direction indicating that anything happened that caused Hamlet to ask this. Branagh improvises well to interpret a different idea of how this event happens. Lastly, after Hamlet leaves Ophelia, the director chooses to have a camera angle pointing down at Ophelia as she lies on the ground. This emphasizes that Ophelia is feeling inferior after being insulted by Hamlet. Furthermore, she feels guilty for rejecting Hamlet

Shakespeare was an intelligent man, he wrote characters with ideas in his mind of how they should be played, some directors and actors do not respect that. In a comparison of three different film adaptations of the play Hamlet, the famous “To be or not to be” speech is often butchered and destroyed with no respect for the original material. Music, scenery, and acting are are vital to the scene and how viewers may understand and appreciate the work and characters in it. Often neglected, it is up to watchers to decide whether or not the work was enjoyable, there are many reasons for those opinions to sway in a certain direction. Olivier, Tennant, and Branagh all had their take at the scene, and in comparison, only one managed to impress and match the stature of the original text.