Essay/Term paper: To be shakespeare, or not to be shakespeare, that is the question

Essay, term paper, research paper:  Culture

To Be Shakespeare, Or Not To Be Shakespeare, That Is The Question


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.