Kenneth Branaugh may have had the script of William Shakespeare's Hamlet spoken down to
every last thee and thou, but one must remember that this is Hamlet through Branaugh's
eyes, not Shakespeare's. Therefore, dismissing obvious additions made for adapting the
play to film, such as having a real castle instead of a stage, it is possible to observe
the unique characters, interpretations, actions, and setting that make this version the
director's own.
In the time of Shakespeare, one of the actors main challenges was to use the words to
paint the scene for the audience, since, for the most part, they were looking at a bare
stage. However, this use of imagination and portrayal is no longer needed when the
script is brought to film. Every pearl and snowflake have been placed strategically
before the audience, so that there is no need to listen to the language to create your
own vision of Hamlet's world. Branaugh's world is full of lavish affairs, freezing
winters, and halls of mirrors. The use of the camera has some definite advantages and
disadvantages. First, since the characters are no longer limited by a defined space,
they are able to deliver their long speeches while being in a constant state of motion.
This occurs in the scene with the guards, and most noticeably in the scene with Laertes
and Ophelia, before he leaves for France. This same scene demonstrates how the camera
enables the characters to switch from one setting to the next, as when Laertes, Ophelia,
and Polonius are taken from outside to the church. This, in turn, helps Branaugh set the
scene for Ophelia and Polonius, in which, Ophelia confesses everything to her father,
perhaps only because she is in a confession booth. Filming also allows for clarification
of what is being said through silent plays. During characters' dialogue, the scene
switches to actions of the past, present, and even to things that could happen. This
seems to be used to give the audience a better understanding of what is happening, and it
also helps to further develop the characters so that the story is built up to the
audience, rather then being tossed into the middle of the storyline. Young Fortinbras is
often shown in these silent plays and is the only way his character is able to be
developed to such an extent. This technique is also used to show how King Hamlet is
killed, as it is being explained by the ghost. Small details, that a play could not
possibly portray, add to the overall film. For instance, the book Hamlet picks up, after
being told about the ghost, is entitled Demons, suggesting that Hamlet is going to be
prepared to meet this apparition. Branaugh uses the ability of a spanning camera to
include other details that enhance the richness of the scene. The building of cannons is
shown at the beginning to capture the feeling of a brewing war. Also, Hamlet is shown
with a group of fencers going through their exercises while Laertes and Ophelia talk,
perhaps a foreshadowing of the end scene. As many advantages as there may be to film,
there are also numerous drawbacks that can take away from any masterpiece.
The same technology and resources that can make a film great, can also make a film
terrible when used extravagantly. Sometimes it is better to rely on good acting and
simplicity rather than smoke, fire, and earthquakes to make a scene worth remembering.
This seemed to be true in the ghost scene. It was interesting that Branaugh decided to
take the scene deep into the woods. This added a certain foreboding, eerie feeling to
the scene, but one that the fire and smoke dominated. The earthquake and fire was really
just too much for the scene. It became almost comic at some points because of all the
commotion. This also gave the impression that the ghost was from hell, even though it
descended from the sky when it was first seen. Another scene that seemed a little
ridiculous was with Rosencrantz and Guildenstern riding up to Hamlet on a toy train. The
only question that comes to mind is, why? An underscore of music during certain scenes
enhances the emotion and intensity being played out. However, the music during Hamlet's
soliloquy about war and Fortinbras gives an overwhelming feeling of reckoning,
determination, and triumph. The music had too much pizzazz, and especially became overly
dramatic when combined with the contrasting black clothes against the white snow, and the
army forming ranks behind the passionate Hamlet. Once again, simplicity might have been
the key to avoid such a staged performance.
Kenneth Branaugh's development and interpretation of the characters and their
relationships to one another can be quite surprising to anyone who has read Hamlet before
and already has formed opinions about the characters and story. Hamlet is played as
being very witty, having a range of emotions, and being a bit eccentric. This seems to
work very well, allowing even a bit of humor to find its way to the audience. Branaugh
played most of Hamlet's madness as an act. The only exception might be after the ghost
appeared. He became a rambling madman too quickly for it to be an act, especially since
the only two people there were those he trusted. Overall, he slipped into the mask of
madness only when it was appropriate. Sometimes, however, his overly dramatic actions
could definitely be on the line of madness. The main source for this observation being
from the play, The Mousetrap. Hamlet appeared to be a raving lunatic enraptured in his
own delight at the King's discomfort. It seemed dangerous to direct this scene with
Hamlet running up on the stage and finishing the actors lines, because almost anyone
would stand up and look frightened while observing such atrocious behavior by the prince.
Therefore, it seems ridiculous that Hamlet feels like the King acted in a frightened
manner, when, in fact, the whole audience is startled by Hamlet's ravings. As for
Hamlet's relationship with Gertrude, he seemed to turn into a little boy whenever he
talked to her. The bedroom scene with these two characters did not come off very well.
It was hard to believe Gertrude was upset, since she looked so calm sitting cross-legged
on the bed. Gertrude's relationship with Claudius is obviously a loving one. A
flashback shown during a soliloquy even suggests that there was an attraction between the
two while King Hamlet was still alive. The character of Claudius could almost be viewed
as regretful. The part that gives this impression is the silent play during which the
death of the king is shown. When the camera focuses on the murderers face, Claudius is
watching his brother die, and in that instant a look of regret and horror creeps onto his
face, as he realizes the magnitude of what he has done. It never seemed like his
intention to want Hamlet dead. But, Hamlet kept making him confront his guilt, which was
so unbearable, that the only way he thought he could cure it was by committing the same
heinous act of murder, again.
Polonius was one of the bigger surprises. This character is portrayed as being
mischievous, maybe a bit evil, powerful, and hypocritical man, who even enjoys a bit of
whoring. This is quite a contrast from my own vision of an eccentric, older man, who is
more of a busybody and meddler than anything. His relationship with Ophelia is a bit
confusing. When first shown together, he seems to be vicious as he shoves her into the
confession booth. Later, he is seen always hugging, kissing, and condoling his lovesick
child. Ophelia, of course, has reason to weep, since Hamlet did not only pursue her
love in a courtly manner, but also pursued it in bed. This adds an odd twist to their
relationship and Ophelia's character. Would someone who is in love with a person, enough
to dismiss religious and moral issues, obey and listen to their father when asked to no
longer see and talk to that person? Well, it seems Ophelia would, and portrays herself
as a coward who has no faith in love. She unveils this when she lies to Hamlet about
where her father is at. It is surprising when she does this, considering the warm
greeting Hamlet and her exchange. Altogether, this scene is very interesting to watch.
The two-sided mirrors really add to the appeal, as Hamlet's words focus directly on
Claudius. With a few exceptions, the characters intertwine and compliment each other
appropriately.
Some of the most noticeable additions are made through character actions. The King is
shown striking Hamlet, because he will not tell where Polonius is hidden. When he is
found, Ophelia's madness starts with screams that could rival any B-rated horror film.
Her madness displays one of the most unexpected additions because it consists of Ophelia
in a straight jacket throwing herself against the walls of a padded room. Branaugh must
have really wanted to play up her madness. He had her frolicking on the floor, kneeing
the King in the crotch, and, as if that was not enough, Ophelia gets hosed down with
cold water. Apparently, she is sane enough to hide a key in her mouth. This last part
is quite a stretch for the imagination, since this is a girl who is seeing imaginary
flowers, singing songs, running around in her nightgown, and yet capable of planning her
escape using a stolen key. Another part that stands out is Ophelia's burial taking place
at night, and in this same scene Hamlet appears for the first time no longer wearing
black. The final scene also has parts that could be viewed as different from the typical
Hamlet.
First, there is the irony that Fortinbras has captured the kingdom while the duel is
taking place. Furthermore, there is the Laertes going over the balcony, and Hamlet
throwing his sword across the room nailing the King to his thrown. Hamlet then precedes
to cause the chandelier to fall on him, and to really make sure Claudius dies, he pours
the poisoned drink down the murderers throat. Branaugh ends the film with Hamlet being
carried out in a cross formation, perhaps suggesting that Hamlet's pursuit of vengeance
was his crucifixion.
There are so many ways this work can be interpreted and acted out, and that makes it
hard to be critical when there is no standard to compare it to. This film was Kenneth
Branaugh's vision of Hamlet, and so to him it is magnificent. To myself, this film had
many brilliant spots and was very thorough and well acted out. However, at times, the
action and music became a bit overwhelming. Perhaps Branaugh got a little to caught up
in the moment, it is hard to say. The silent plays that were shown throughout ( King
Hamlet's death, the drowned Ophelia, Hamlet's childhood days with Yurich, Priam's
slaughter, Fortinbras) added a lot to the film, because it gave the characters a history
and allowed for a non-shakespearean audience to better understand what was being said.
The adaptation from play to film is not always very easy, and obviously some changes have
to occur. Branaugh's version of Hamlet definitely had some additions, but it still
captured the essence of Shakespeare making it an interesting piece of work, and an
enjoyable film.
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