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Branagh's adaptation of Hamlet film and text
Hamlet soliloquy analysis essay
Hamlet's thoughts about death
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Despite not being the newest film version of Hamlet, Kenneth Branagh’s take on Hamlet’s over famous soliloquy “To be or not to be” (Shakespeare 3.1.57-90) is the most bold and contemporary version. Branagh’s interpretation of this scene brings suspense, maintains a steady pace and adds drama to the soliloquy. The use of gestures, music and camera shots effectively improve the scene.
In Zeffirelli take on this scene, Hamlet is roaming around a tomb-like building. Although this location parallels the theme of mortality, it is unfitting because Hamlet would not usually visit the tomb in the plot. In Almereyda’s interpretation of the soliloquy, a modern Hamlet says his soliloquy in a movie store. The blockbuster has many symbols and images that
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Often, it is a challenge for the director to find an appropriate level of background sound. In Zeffirelli’s interpretation, there was little to no ambient noise. Although Hamlet’s speech was clearly audible, the lack of sound made the scene dull and uninteresting. The opposite goes for Almereyda’s interpretation. In this version the background music and the noise from the films were overshadowing the soliloquy. There were parts in that scene that were barely audible or parts where the music and noise distracted me from the words he was saying. In Branagh’s version, there was the perfect amount of background sound; it accompanied the speech instead of overshadowing it. There was no ambient music until he intensified his speech. When he started to talk about death, an eerie sound started to appear. When Hamlet calms down and lowers his dagger, the eerie noise settles. This relates to the theme or mortality because the eerie sound may represent the soul of King Hamlet. The only things holding Hamlet back from suicide are fear and revenge. The eerie sound was effective because it may show that Hamlet remembers that he has to avenge his father’s murder before he dies. Branagh found the perfect level of background noise to accompany Hamlet’s
Both the Tennant and the Branagh version repeat the same soliloquy from the original Hamlet. However they are in different settings with different characters present. They also both speak in a slightly different tone in this speech. In Tennant’s version, Hamlet seemed more sad when giving the speech compared to Branagh’s version, who seemed more calm and relaxed. The Hamlet in Branagh’s version was holding a knife up to the mirror, looking as if he was debating or not to end his life, while the Hamlet in Tennant’s version was just staring off into the distance. They were both in a room, but the Hamlet in Branagh was looking into a mirror. Hamlet in Tennant’s version was by himself, while in Branagh’s version, there were two characters present behind the two-way mirror. I liked Branagh’s version more than Tennant’s version in this scene, because Hamlet’s character I feel fit the speech. It made it seem more interesting to me. With Tennant’s version, I feel it was a little boring because he was not really doing anything, just looking from behind a wall. This is why I like Branagh’s version better in this
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 soliloquy that appears in Act 3 Scene 1 of Shakespeare’s Hamlet is easily one of the most popular speeches in English literature. It has been referenced to in Star Trek, Calvin and Hobbes and A Nightmare on Elm Street. However, this speech was not intended to be a lighthearted reference as indicated by Hamlet’s contemplative, philosophical, and bitter tones he uses while questioning the nature of life and death in this soliloquy.
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.
Franco Zeffirelli portrayed a more effective version of the famous to be or not be soliloquy by having it set below in the family mortuary. Having violently rejected Ophelia, Hamlet climbs down the stoned stairs of the medieval castle and into the cellar where all his ancestors’ burial tombs lie, including his father’s. Surrounding himself in tombs and skeletons, he intones the to be or not to be speech in isolation and darkness. Having this particular set design, Zeffirelli enhanced the scene by creating a cold, dark, and suspenseful atmosphere. The family mortuary set design was eerie and melancholic which added realism into the speech as it allowed the audience to really see the manifestation of death that Hamlet contemplated. It also added physical emotion into the soliloquy as the scene contrasted death and Hamlet so closely with all the dead royals in their tombs, showing how deep Hamlet’s thoughts on life and death were rooted in his mind. Therefore, Zeffirelli’s use of the set design helped to create a more intense scene that enriched the soliloquy.
Hamlet commences off the verbalization with darkness and despair. Hamlet is contemplating life or death.
Clearly this shows Hamlet grieving his father’s death while showing hostility to the king and queen for being so deathly cold about the previous king’s death. Also the readers can also see in Hamlet’s opening dialogue, it shows that he still has not come to terms with his father’s death and is still in the state of shock when we first see him.
Hamlet’s “To be or not to be” soliloquy is conceivably the most prominent soliloquy in the archive of the theatre. Even now, more than 400 years after it was originally written there is still an air of familiarity that reaches others even if they do not know the play itself in detail. In act 3, scene 1, Hamlet’s “To be or not to be” Soliloquy is critical in developing the plot because this is when Hamlet discusses his most suicidal thoughts.
Death threads its way through the entirety of Hamlet, from the opening scene’s confrontation with a dead man’s ghost to the blood bath of the final scene, which occurs as a result of the disruption of the natural order of Denmark. Hamlet is a man with suicidal tendencies which goes against his Christian beliefs as he is focused on the past rather than the future, which causes him to fall into the trap of inaction on his path of revenge. Hamlet’s moral dilemma stems from the ghost’s appearance as “a spirit of health or a goblin damned”, making Hamlet decide whether it brings with...
It was hard for me to focus on what was being said since my eyes were so distraught attempting to gain focus on what was going on. This distraction did not only occur visually but auditory distractions occurred as well. Throughout this scene unnecessary music was added, in attempts to create dramatic effect, but this did not impress me at all. I would try to focus on Hamlet’s voice, then all of a sudden a blast of flutes would begin to play and I would find myself lost in the scene yet again. All these distractions took away greatly from the meaning of this important soliloquy said by Hamlet.
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?
There is a moment at the start of this film when Hamlet, until then holding himself rigidly erect through sheer force of will, seizes a moment of privacy and literally deflates with exhaustion and despair. In itself, this perfect gesture would mark Branagh's portrayal a masterful work. But what follows raises his performance to the sublime: He embarks on the "O that this too too sullied flesh would melt, /Thaw, and resolve itself into a dew..." soliloquy not with Burton's anger, Olivier's melancholy or Gibson's bitterness, but with an exhalation that embodies the emotion most genuine given the circumstances: overwhelming grief. This is a perfect note, and what follows shows an understanding of the play's mental and emotional landscape that
Of the three productions of Hamlet viewed- starring Ethan Hawke, Benedict Cumberbatch and Kenneth Branagh- the one featuring Kenneth Branagh best captures the essence of Hamlet’s soliloquy through his effortless delivery, use of props and use of setting to convey his message, revealing Shakespeare’s intent, which is to provoke the question, “is there a greater purpose in life?”. Throughout the soliloquies starring Ethan Hawke and Benedict Cumberbatch, there is a continuing thread of forced and awkward speech. However, Kenneth Branagh flows through his speech smoothly as though he is saying the words to bring across his own purpose- which is to deceive Claudius and Polonius.
Through the elements of technique portrayed in this essay, it is clear to see that Shakespeare is able to influence the reader through soliloquies, imagery, and dual understanding. This overall influence being both the communication of a deeper meaning, and a more complex understanding of the events and statements within Hamlet.