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Comparing Hamlet to movie
The oxford shakespeare hamlet
Comparing Hamlet to movie
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Cinematic art has portrayed popular literature in a variety of ways throughout its history. A plethora of movie directors have put their depiction on certain scenes from these famous works. Hamlet, from William Shakespeare’s timeless classic, Hamlet, has had his famous soliloquy, “To be or not to be”(III.i.56), reproduced in a variety of tones throughout history. Specifically, there have been three persistent tones that have been in the majority of the soliloquy’s vast interpretations. In Laurence Olivier’s, Hamlet (1948), Hamlet is portrayed as a confused, lost character that ponders some of life’s toughest questions. Mel Gibson’s 1990 version of Hamlet depicts Hamlet as a dark, reticent character who only speaks in a dismal way. Finally, in Kenneth Branaugh’s Hamlet (1996), Hamlet is portrayed as deranged individual who is insane, within the context of the scene. Hamlet’s famous soliloquy, “To be or not to be”(III.i.56), has been reproduced by modern moviemakers as either dark, insane or confused in different versions because of Hamlet’s multifaceted and complex character.
Laurence Olivier’s interpretation of the soliloquy portrays Hamlet as a confused individual, searching for the answer in life. Olivier uses a variety of movie techniques such as tone, setting and character portrayal to carry his perception of the famous soliloquy to his viewers. In the opening of the scene, Hamlet speaks the words, “To be or not to be”(3:19-3:33) as he stares out to the ocean in front of him. This initial shot of the scene gives the viewer a look into what is going on in Hamlet’s mind. His head, like the ocean, is filled with vast confusion as he tries to mull whether to live or to take his own life. There are a variety of instances throughou...
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...anaugh portray Hamlet as an insane individual. The film industry has evolved in its understanding of Hamlet in the twentieth century. It is left up to the audience to decide what the real explanation of the story is.
Works Cited
Hamlet. Dir. Kenneth Branaugh. By William Shakespeare and Kenneth Branaugh. Perf. Kenneth Branaugh, Julie Christie. Castle Rock Entertainment, 1996. Film.
Hamlet. Dir. Laurence Olivier. By William Shakespeare. Perf. Laurence Olivier, Jean Simmons. Learning Corp. of America, 1948. Film.
[Hamlet--trailers]. Dir. Franco Zefferelli. By William Shakespeare and Christopher De Vore. Perf. Mel Gibson, Glenn Close. Warner Bros. Pictures, 1990. Film.
Ritter, Maddy. "5 Hamlet "To Be or Not to Be" Soliloquies." YouTube. YouTube, 23 Oct. 2012. Web. 01 Dec. 2013.
Shakespeare, William, and A. R. Braunmuller. Hamlet. New York: Penguin, 2001. Print.
Shakespeare, William. The Tragedy of Hamlet, Prince of Denmark. Massachusetts Institute of Technology. 1995. http://www.chemicool.com/Shakespeare/hamlet/full.html No line nos.
Kenneth Branagh’s version of the ‘to be or not to be’ soliloquy, although slightly overdramatic, was superior in delivery and setting. First, Hamlet’s tone held a faint aggressiveness, which helped emphasize his growing dissatisfaction with his current disposition. The other films’ depictions of the scene were dull and lacked the proper emotion required to give life to Hamlet’s internal debate. In addition, the mirror Hamlet faces as he speaks alludes to the derivative and folly of his, and his father’s, vengeful pursuits. Hamlet’s obligation to fulfill his father's demands causes him to self loathe, which leads him to question his existence. As Hamlet approached the mirror with his sword drawn, both Polonius and Claudius flinched in fear,
...ears or express emotions over her death or her madness. Therefore the Kenneth Branagh version of Hamlet was able to show a closer interpretation of the play Hamlet and the significance of the characters.
William Shakespeare's Hamlet. Dir. Kenneth Branagh. Perf. Kenneth Branagh, Derek Jacobi, and Kate Winslet. Videocassette. Castle Rock Entertainment, 1996.
Romeo and Juliet. Dir. Franco Zeffirelli. Perf. Leonard Whiting, Olivia Hussey, John McEnery, Etc. Twentieth Century Fox, 1996. Film.
Shakespeare, William. The Tragedy of Hamlet, Prince of Denmark. Massachusetts Institute of Technology. 1995. http://www.chemicool.com/Shakespeare/hamlet/full.html
Northrop, Frye. "Hamlet." Northrop Frye on Shakespeare. Ed. Robert Sandler. New Haven: Yale University Press, 1986. 82-100.
Riddled with ambiguity by its very nature, the text of William Shakespeare's Hamlet has been a commonly debated subject in literary circles since its first performance. The character Hamlet undergoes intense physical and emotional hardship in his quest for revenge against his despicable uncle. This hardship, some argue, leads to an emotional breakdown and, ultimately, Hamlet's insanity. While this assessment may be suitable in some cases, it falls short in others. Since Hamlet is a play, the ultimate motivation of each of the characters borrows not only from the text, but also from the motivations of the actors playing the parts. In most respects, these motivations are more apt at discerning the emotional condition of a character than their dialogue ever could. Thus, the question is derived: In Kenneth Branagh's film adaptation of Hamlet, does the character Hamlet suffer from insanity? Giving halt to the response, this paper will first endeavor to establish what insanity is and will then provide sufficient examples both from the text, film, and Branagh's own musings on his motivations as proof that Hamlet's character, at least in Branagh's version of the play, is not insane.
Zeffirelli’s filmic Hamlet evidently interprets the original play especially considering Mel Gibson’s performance making it easy for the audience to understand Shakespearean dialect. Shakespeare’s Hamlet is a man with friends who proves to be much more reserved, and manipulative than someone might imagine today. His hamlet is considerate in his plans, but with no tact interpersonally. Zeffirelli’s audience is required to focus on the troubles, and character of Hamlet, who is nonstop, and unfriendly, but a sensitive loner when the time is right. Zeffirelli accomplishes this mixture while staying faithful to his starting place my maintaining solid screenplay with a constant flow supporting his own take on the story. Concisely, Zeffirelli’s Hamlet is both a free and a loyal understanding of its source, which is, for today’s viewers, a Hamlet in its own right.
The interpretation of Hamlet’s, To Be or Not to Be soliloquy, from the Shakespearean classic of the same name, is an important part of the way that the audience understands an interpretation of the play. Although the words are the same, the scene is presented by the actors who portray Hamlet can vary between versions of the play. These differences, no matter how seemingly miniscule, affect the way in which someone watching the play connects with the title character. For example, one way that the Kenneth Branagh and David Tennant interpretations differ is in the speed and inflection of the soliloquys, as well as the ambient audio or lack of, in Tennant’s case, during the respective scenes. During the Kenneth Branagh portrayal of Hamlet, the speech is fast and in a forceful tone that gives a feeling that Hamlet is trying to make a point rather than understand the complexity of the situation in his own right.
Birenbaum, Harvey. “To Be or Not to Be” The Archetypal Form of Hamlet. N.p.: Penn State,
Different adaptations of William Shakespeare’s works have taken various forms. Through the creative license that artists, directors, and actors take, diverse incarnations of his classic works continue to arise. Gregory Doran’s Hamlet and Kenneth Branagh’s Hamlet bring William Shakespeare’s work by the same title to the screen. These two film adaptations take different approaches in presenting the turmoil of Hamlet. From the diverging takes on atmosphere to the characterization of the characters themselves, the many possible readings of Hamlet create the ability for the modification of the presentation and the meaning of the play itself. Doran presents David Tenant as Hamlet in a dark, eerie, and minimal setting; his direction highlighting the
Hamlet's "To be, or not to be" soliloquy is arguably the most famous soliloquy in the history of the theatre. Even today, 400 years after it was written, most people are vaguely familiar with the soliloquy even though they may not know the play. What gives these 34 lines such universal appeal and recognition? What about Hamlet's introspection has prompted scholars and theatregoers alike to ask questions about their own existence over the centuries?
In Shakespeare’s play, Hamlet, protagonist Hamlet, experiences many rises and falls throughout the play that have a major impact on his mentality decline. The way in which readers interpret the character, Hamlet, can vary in many ways. For instance, Hamlet delivers many soliloquies throughout the work, giving readers a better insight of his state of mind. Additionally, two significant soliloquies in both Acts II and III show a clear view of Hamlet’s mental and emotional state.
Shakespeare, William. The Tragedy of Hamlet, Prince of Denmark. Massachusetts Institute of Technology. 1995. http://www.chemicool.com/Shakespeare/hamlet/full.html No line nos.