Consider Kenneth Branagh’s Screen Version Of Hamlet Essay Example

a vicarious experience. Further, it induces catharsis in the audience by evoking sentiments of fear and compassion. Particularly in a 'revenge tragedy,' the protagonist is driven by vengeance due to past incidents, unveiling tragedy as their pursuit for revenge progresses.

Various characters in "Hamlet" have a significant impact on the narrative. The protagonist, Hamlet, holds the title of Denmark's Prince and is Queen Gertrude's son. Additionally, he is Claudius' nephew. Early on in the play, Hamlet encounters his deceased father's specter who discloses that his demise was at the hands of his brother, Claudius. This revelation from the ghost demands vengeance, imposing a moral responsibility upon Hamlet. Nevertheless, uncertainty about how to proceed leads Hamlet to pretend insanity for some time.

In the wake of realizing the truth behind his father's assertions, as illustrated in a drama where the actor representing the king is murdered in exactly how Claudius assassinated King Hamlet, Claudius' facial expression exhibits undeniable symptoms of remorse. As a result, once Prince Hamlet corroborates his father's allegations first-hand, he becomes steadfast and fearless in his quest for retribution. In "Hamlet," King Hamlet (currently deceased) and Claudius stand as the primary characters. King Hamlet, who is Prince Hamlet's father, expires before the play begins consequently remaining only as a specter.

Yet, there are several characters in the drama, especially Hamlet, who praise his bravery and virtues. Claudius is not just the sibling but also the slayer of the deceased King; he's presently Denmark's ruler himself. He took Gertrude as his wife soon after King Hamlet passed away, which greatly displeased Hamlet. Initially seeming to be a genuinely courteous and competent individual, Claudius later reveals himself as

a 'smiling, damned villain' as the plot unfolds. The next six characters are portrayed as casualties of catastrophe.

Firstly, Gertrude, the Queen of Denmark, is killed in Act Five Scene Two. Since she married Claudius, she willingly agrees to all of his plans. Polonius, who takes himself very seriously and has two children, Laertes and Ophelia, is the one who initiates the events in the play. He is killed by Hamlet in Act Three Scene Four. Polonius was hiding behind a curtain while Hamlet was conversing with Gertrude, and Hamlet mistakenly believed he was Claudius and stabbed him through the curtain.

Next, Ophelia, the daughter of Polonius and sister of Laertes, is involved in a complicated love affair with Hamlet. However, their relationship is not always apparent, as evidenced by the 'Nunnery' scene in Act Three Scene One. During this scene, Ophelia returns Hamlet's belongings, which infuriates him. In his anger, Hamlet unleashes all the bitterness he has been harboring since his mother's marriage to Claudius upon Ophelia, questioning her honesty and beauty by telling her to go to a nunnery. This causes great distress for Ophelia. Eventually, in Act Four Scene Seven, Ophelia tragically takes her own life by drowning.

Afterwards, in Act Five Scene One, we encounter Laertes, the son of Polonius, who fiercely defends his family's honor. Moreover, appearing as Hamlet's supposed school friends, Rosencrantz and Guildenstern are summoned by Claudius to the court and later exploited as spies on Hamlet. Among the survivors of the play are Fortinbras and Horatio. Fortinbras, the Prince of Norway, ultimately ascends to the throne of Denmark. As for Horatio, he is Hamlet's close friend and confidant, whom Hamlet

trusts unwaveringly and from whom he consistently seeks sensible counsel. The characters involved in Act Five Scene One consist of Hamlet, Horatio, Gertrude, Claudius, Laertes, the deceased Ophelia, a Priest, and two gravediggers.

In Act Five Scene One, Hamlet and Horatio observe two gravediggers preparing a grave. The audience is aware that the grave is for Ophelia, but Hamlet is not yet aware of this. This technique creates dramatic irony, where the audience knows something that the characters do not. The dialogue between Hamlet and Horatio focuses on the person who will be buried. Before Hamlet realizes whose funeral is about to occur, he discusses with Horatio the concept of human flesh and blood returning to the earth. He also ponders how one can be a king while alive, but once dead, they have nothing.

During his conversation with Horatio, Hamlet walks slowly towards the open grave, mentally preparing himself for his mortality and physically moving closer to it. This scene holds great significance in the play because of this. When the funeral procession arrives and Hamlet learns that Ophelia is to be buried in the grave, he and Laertes engage in a fight over it, each displaying their love for her. The scene concludes with Hamlet vowing revenge and the King instructing Horatio to remain with him.

Both the film and play begin with a lighthearted tone, but as the scene progresses, it becomes increasingly serious. There are immediate distinctions between the stage and screen adaptations. In the movie, Kenneth Branagh opts to set the churchyard in the midst of a misty forest on a winter's night. Conversely, onstage, the graveyard would have an empty performance space

with an open trapdoor in the middle for the grave.

Branagh elected to change the movie's ambiance to intensify the drama in progress. Hamlet's struggle with mortality and spirituality is mirrored in his actions on stage and screen, representing his emotional progression. Initially a distant observer, he becomes increasingly engaged until he finds himself physically in a grave. This swift transformation underlines his growth over a brief time span. By now, viewers are keenly awaiting Hamlet's discovery of who the grave is intended for and how he will react when the funeral procession appears.

Hamlet is struggling with the understanding of his impending death as he attempts to exact revenge on Claudius. He cries out, 'The time is out of joint. O cursed spite, That ever I was born to set it right.' At this juncture, Hamlet conveys his annoyance that everything seems disarrayed and wonders why the task of reestablishing order has fallen upon him. In theatrical works, a character's true nature often emerges in times of conflict rather than tranquility; accordingly we can anticipate Hamlet revealing his authentic self during these challenging circumstances. As one gravedigger takes leave, Hamlet scrutinizes the remaining one.

In both theatrical and cinematic adaptations, the gravedigger's handling of the skulls evokes repulsion. In each version, a skull is tossed up from the grave and lands where Hamlet and Horatio can clearly see it. However, in the movie adaptation, Hamlet and Horatio emerge from a thick forest to watch the gravediggers secretly from behind some trees. Conversely, during stage performances, they appear either from the left or right side of the stage and maintain their positions while engaging in conversation. A further

divergence in this scene lies in that on-screen portrayal involves using a trowel for digging by the gravedigger as opposed to resorting to use of a spade for digging during live performances.

Kenneth Branagh has decided to change the depiction of a trowel in this theater production versus a film. In a theater, the audience sits far from the stage, making it difficult to see small objects like a trowel. However, in a film, the use of zoom allows for smaller props to be visible. The humorous exchanges between the gravediggers serve as a prelude to a more serious topic. The joke about the gravedigger being stronger than a mason, shipwright, or carpenter underscores the lasting nature of the houses he constructs. This joke prompts the audience to contemplate the finality of death. As Hamlet ponders the gravediggers, he mentions Cain, who is known as the first murderer in the Bible. This irony lies in the fact that Cain killed his brother Abel, which parallels the theme of fratricide in "Hamlet." However, the motives behind these killings differ; Claudius killed Hamlet out of greed and desire for power and his wife, while Cain killed Abel out of jealousy that God favored Abel's sacrifice over his own.

In the third act's third scene of the drama, Claudius tries to seek forgiveness for his transgressions while keeping his unrightfully acquired treasures. When one gravedigger leaves, another starts to sing. The starting verse of this song celebrates youthful happiness and love, but its mood changes in the second verse where it talks about the unavoidable process of growing old and a sense that youthful times have disappeared. This shift from

joviality to solemn reflection on mortality and interment in the song matches with the transition seen within this scene.

In the film, when Hamlet and Horatio approach the gravedigger, the dialogue is visually enhanced through cinematography. This is achieved by including reaction shots that focus on the listeners' facial expressions. The backdrop for these shots is a mist flowing through the trees in the forest. To create an eerie effect, Branagh utilizes 'up-lighting' as the lighting technique during this particular scene. This effect would not be achievable with the same intensity on a stage. Additionally, the camera angle captures multiple skulls, whereas the stage version typically only showcases one.

Hamlet, in Shakespeare's tragedies, stands out due to his intellectual sharpness and philosophical tendencies. His renowned soliloquy, "To be, or not to be, that is the question," demonstrates his deep thought process about whether one should tolerate adverse conditions or confront them with action. Even though he refers to death and sleep, Hamlet aims not at contemplating suicide but at triggering a philosophical debate on if it's better to passively endure hardships or actively tackle them.

Ophelia believes that Hamlet has a great potential that remains untapped. She talks about a version of Hamlet that is portrayed in the 'Nunnery Scene' (Act Three Scene One), which we never actually see. She describes this version as having a noble mind that has been destroyed. This version of Hamlet is seen as a courtier, soldier, scholar, and is highly regarded in the state. Ophelia also mentions that this version of Hamlet is admired by everyone. While observing the gravedigger handling the skulls, he provides examples of who those skulls

may have belonged to.

In this passage, Hamlet realizes that one's social status and achievements are irrelevant after death. He acknowledges that the skull held by the gravedigger used to belong to someone who may have been wealthy and owned land while alive. However, now that he is dead, he cannot take his possessions with him. This illustrates the insignificance of material accomplishments in the face of mortality. Throughout this part of the scene, Hamlet expresses his thoughts through abstract language, jargon, jokes, and puns. It is only when Hamlet approaches the grave that he engages in conversation with the gravedigger and exchanges humorous wordplay.

Hamlet later addresses the corruption of the court in Elsinore during this conversation. Additionally, the dialogue serves as a reminder of Hamlet's birth, as the gravedigger has held his position since the day "last King Hamlet o'ercame Fortinbras," coinciding with Hamlet's own birth. The gravedigger also mentions that Hamlet was sent to England due to his madness, highlighting the widespread dissemination of information from the highest ranks to the lowest in the social hierarchy, exposing the court's corruption.

According to the text, Hamlet's plan to pretend to be mad and act in an anti-disposition has successfully deceived the entire country, including the court. The use of the "quick cutting" technique in the interaction between the gravedigger and Hamlet, as depicted by Branagh, emphasizes the effectiveness of this deception. It is also during this conversation that we become aware of Claudius' success in concealing his crimes. Even the gravedigger believes that Hamlet has lost his sanity and has been sent to England for recovery, highlighting the deep corruption within the court of Elsinore.

The current

topic of conversation is the physical aspects of death, specifically the process of decay. This discussion brings the horrifying reality of decay to Hamlet's attention. In a close-up shot, Branagh shows the gravedigger holding the skull next to his own head, revealing what lies beneath. This detail would not be as obvious on a stage. When the gravedigger identifies the skull as Yorick's, death becomes personal and real for Hamlet. He mourns, "Alas, poor Yorick. I knew him..." This personal connection gives meaning to the skull for Hamlet.

In the film adaptation, Hamlet experiences flashback memories of Yorick, which is impossible to depict on stage. Shakespeare has made the character of Hamlet both intrigued and horrified by death, a unique combination in drama. The concept of decay connects to Hamlet's perception of the court and women, symbolizing both corruption and degradation. As Hamlet reflects upon Yorick's fate, his disdain for his mother's falseness intensifies.

During this scene, Hamlet speaks of his awareness that no matter how much makeup someone wears, they will eventually decompose and everyone will look the same. This is emphasized by the juxtaposition of his own head and Yorick's skull, further highlighting the fact that underneath our skin lies only bones. T.S. Elliot also discussed this concept in relation to Webster, who was fascinated by death and recognized the presence of a skull beneath the skin.

To distance himself from the reality of death, Hamlet engages in philosophical contemplation as he steps back from the grave. In the film adaptation, he and Horatio retreat behind a thicket and some trees, whereas on stage they would simply move to the side. As a funeral procession enters,

it becomes evident to the audience that it is Ophelia's funeral, but Hamlet remains unaware of her death.

The tension and anticipation of the audience increase as Hamlet sees Laertes. He describes Laertes as a noble youth, unaware that it is Ophelia's burial. Laertes acknowledges Ophelia's angelic nature, emphasizing her lost potential. The Queen also laments Ophelia's unrealized future as Hamlet's wife. Later, Laertes insults the Priest, further deepening the theme of death in Hamlet's personal life. Like in Act One Scene Two, Hamlet remains silent while surrounded by others speaking. Laertes now curses Hamlet for his father's death and Ophelia's demise, displaying exaggerated grief by leaping into the grave. Hamlet is affected by Laertes' dramatic performance, showcasing the arrogance of a Renaissance Prince.

Hamlet then emerges from his hiding place and declares, "This is I, Hamlet the Dane." Afterward, Hamlet and Laertes engage in a physical struggle. In the film adaptation, Laertes bursts out of the grave to wrestle with Hamlet. However, on stage, their fight takes place within the grave itself. This symbolic choice alludes to the fact that in Act Five Scene Two, both characters end up fighting until death, as they both perish. Perhaps this foreshadows their ultimate fate. During this confrontation, Shakespeare portrays Laertes as the aggressor, thus maintaining sympathy for Hamlet. The Queen attributes this sudden outburst to Hamlet's manic depression and assures everyone that he will eventually regain his composure.

Hamlet agrees to duel Laertes, unaware that Laertes' sword would be poisoned. Prior to the duel, Hamlet speaks with Horatio, acknowledging that he may die in the confrontation. Horatio believes he will lose the bet since Laertes is a skilled swordsman.

However, Hamlet believes he has the advantage because he has been practicing while Laertes has been in France. In spite of his confidence, Hamlet admits that his heart is troubled but dismisses it as inconsequential.

With these words, Hamlet's unease intensifies as if someone had walked over his grave, confronting his own mortality. The duel is promptly arranged and meanwhile, the King prepares the poisoned chalices. Hamlet and Laertes engage in combat, resulting in confusion and a sword exchange. Hamlet is wounded with the poisoned sword while the Queen unknowingly drinks from the chalice prepared for her son. Eventually, the truth about Laertes and Claudius' plot becomes known. Hamlet strikes Laertes with the poisoned sword after receiving forgiveness from him for causing the deaths of him and his father.

Hamlet then compels Claudius to drink from the poisoned chalice, resulting in the deaths of Laertes, the Queen, and Claudius. While Hamlet is dying, Horatio offers to end his own life, but Hamlet prevents him in order to have someone who can recount his story. In the play's final scene, Young Fortinbras arrives for a diplomatic visit. However, in the movie adaptation, Fortinbras and his army storm the castle, with Fortinbras ultimately seizing the throne. The reason for Kenneth Branagh opting for this ending is unclear, perhaps he believed it would be more visually impressive compared to simply removing the bodies from the stage.