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This essay analyses different film versions of Hamlet. To begin with, it is evident that, although all the directors have chosen good actors, some scenes are not well played to bring out the soliloquy "to be, or not to be". Brannagh's version is probably the best of them all given that the scenes are chronological. For instance, when presenting the soliloquy "to be, or not to be". Zeffirelli's actor does not bring it out very well. On the other hand, Brannagh brings out the soliloquy in a way that the viewer can easily understand. Zeffirelli conveys feelings of romance using soliloquy. The movement of the actors is seen by the director's advancement of such characters like Gibson. Other actor's like Hamlet are seen ending their relationship.
Zeffirelli uses Gibson to deliver the soliloquy "to be, or not to be". The way he does it goes hand in hand with his body movement. His tone is perfect and is enhanced by the facial expression. This brings in a very good performance. In each case, the directors settle on different ways of handling the Bard. Zeffirelli opts to minimize the script may be with the audience in his mind. On the other hand, Branagh settles on a complex script that covers the entire play (Shakespeare, p 93). He decides to alternate a few scenes but utilizes the entire script. Tennant in his editing decides to discard all the minor characters alongside the sub plot. A number of scenes are arranged differently save for the major ones. Zeffirelli in his case discards Fortinbras but Rozencrantz alongside Guildestern are featured throughout the entire film. He also makes Gibson more active and dynamic than Hamlet.
The setting of each movie is well chosen in order to bring out Hamlet's soliloquy "to be, or not to be." However, some of the movies base the setting from a romantic point of view thus comprising the ideal message altogether. This is evident in Franco Zeffirelli's film. For instance, in Franco's version, act III compromises Shakespeare's setting in the text. On the other hand, Kenneth Brannagh's version that was produced in 1996, maintains an almost perfect setting for the subject matter of the original film. The lighting of the scenes brings very big effect in each case. For instance, Zeffirelli's version brings Hamlet basking on the ocean while meditating on suicide. The dull lighting in this scene goes hand in hand, with what is just about to take place (McEvoy, p 67). This idea is very impressive in this particular event. Poor lighting can cause film a fortune because it will not bring on the surface the amazing performance in each case. In all the versions, lighting has been well catered for to emphasize on the mood in each incidence.
All the directors have used diverse music in enhancing their themes. Zeffirelli in his case intertwines music with the themes to stir feelings of the viewer. Branagh on the other hand chooses some excellent music although in some scenes the music does not accompany the happenings. For instance, when Hamlet is suffering an internal conflict, Branagh is not able to relate this with an almost perfect music to bring out the incidence. All the films by the different directors revolve around the Shakespeare's text. However, Kenneth Branagh's is the longest of them all. He attempts to expound each event in details compared to Mel Gibson. In the entire film, Branagh does not change a lot and he attempts to make the play resemble the original text (Shakespeare, p 115). Some scenes are rearranged, and some of the soliloquies are made short or eliminated altogether. On the other hand, Zeffirelli decides on something brief. Most of the soliloquies are not included and all scenes appear just as in the text. In Zeffirelli's version, Hamlet interpretation is rather different. Hamlet does not undergo much transition as Gibson does. His explanation on the popular "To be, or not to be." is very interesting. Although the speech has to do with death, Hamlet surprises everyone, as he appears not disturbed.
The interpretation of the speech "to be or not to be" relates to the actual text in Zeffirelli's version. However, Branagh's interpretation is best of them all. Just like in act three, scene one of Shakespeare's Hamlet, Branagh places the soliloquy in its rightful position in his film (Shakespeare, p 145). In his film, Hamlet is presented alone while delivering this speech. This is also the same thin in the text.
In conclusion, "to be or not to be" speech in Shakespeare's Hamlet has been interpreted differently in the four versions of the film. The famous soliloquy begs for answers on how righteous death can be moral. Much of this speech emphasizes on death although Hamlet seems to have hope for getting revenge when the film ends.