A Play on Hamlet

The complex and intricate nature of Shakespeare’s writing, has resulted in diverse interpretations of his plays. Over the years, numerous film directors have constructed their unique understanding of one of his most notable and elaborate plays-Hamlet. This essay will critically analyse and compare Franco Zeffirelli’s, and Michael Almereyda’s representation of the character Hamlet.

The characterisation of Hamlet is significantly different in both films, largely due to the direction of specifically chosen actors. Mel Gibson plays Hamlet in Zeffirelli’s film, in a traditional castle setting, creating an empowered and humorous character in line with Gibson’s previous roles as a witty action hero. Contrastingly, Almereyda cast Ethan Hawke to play Hamlet in a modern, corporate context. Hawke most notably previously played a vulnerable teenage boy controlled by his parents in Dead Poet’s Society, presenting a powerless Hamlet.

Hawke’s performance in the role and delivery of his lines completely omits Hamlet’s sarcastic wit, disempowering him, whilst Gibson’s performance makes strong use of his wit and humour. Act one, scene two, Hamlet says “Thrift, thrift Horatio. The funeral baked meats did coldly furnish forth the marriage tables.” This is delivered humorously by Gibson, and angrily by Hawke. Almereyda’s omittance of Hamlet’s humour is also demonstrated in the final scene where Gibson playfully mocks Laertes, whilst Hawke remains serious.

Hamlet’s famous “To be or not to be” soliloquy, is executed in an introspective and philosophical manner by Gibson, whilst Hawke performs the speech in a monotonous manner, highlighting his depression and weakness. In keeping with the modern context, Almereyda has set this speech in a DVD store, and used repetition of ‘Action’ signs to emphasise the character’s inaction and procrastination.

Almereyda represents Hamlet as unimportant compared with his parents, and holding no real social power, particularly in the opening scene where he is an observer at the press conference, and in the red carpet scene where he is ignored. Almereyda minimises Hamlet’s suspicious nature and portrays him as less intuitive and observant, specifically when he does not suspect Rosencrantz and Guildenstern of spying on him. By contrast, Zeffirelli’s Hamlet is portrayed as a powerful young prince respected in society, and his intelligence is highlighted by his early suspicion of foul play.

Hamlet’s relationship with Ophelia also differs greatly in the two films. Zeffirelli’s film sequences the “to be or not to be” soliloquy (where he contemplates suicide), immediately after he has acted cruelly to Ophelia, suggesting his love for her. In Almereyda’s film, Hawke denies his love for her to protect himself from her rejection. This representation, combined with privileged scenes of Hamlet studying video tapes of Ophelia, suggests that he is obsessed and needy, disempowering his character. Although both representations of Hamlet love Ophelia, Zeffirelli’s film shows Hamlet pushing her away, compared with Almereyda’s ‘needy’ Hamlet.

Hamlet’s relationship with Gertrude is constructed in vastly different ways by the two directors. In Zeffirelli’s film, it is clear from the beginning that Gertrude is a loving mother, however, Hamlet shows anger and resentment towards her for marrying Claudius so hastily after the King’s death. “And yet, within a month-let me not think on it-Frailty, thy name is woman.” Contrastingly, in Almereyda’s film, Gertrude acts as though Hamlet is unimportant. Several scenes show Claudius and Gertrude intimately engrossed in one another whilst completely ignoring Hamlet, for example, the limousine scene.

Structure, sequencing and privileging of scenes also contributes to the construction of Hamlet. His first appearance in Zeffirelli’s film exhibits him mourning his father at his funeral, glancing suspiciously at his uncle, with the focus of the scene on Hamlet, suggesting his power. Almereyda sets the context with Hamlet walking through Time Square and into a press conference where he is invisible to everyone except Ophelia, disempowering him. In Zeffirelli’s film, Hamlet goes to see Ophelia immediately following his encounter with the apparition of his father. Gibson’s silence and frustration in this scene gives the impression Hamlet is torn between love and vengefulness, and this leads to his inability to act. However, in Almereyda’s film, Hamlet admits to himself that he procrastinates because he is too cowardly to act. “A thought which, quartered, hath but one part wisdom and ever three parts coward.” This soliloquy is omitted in Zeffirelli’s version.

Both directors have used various film techniques and music to enhance the construction of the character. Half light is used often in both films, for example, in Hamlet’s first soliloquy in Zeffirelli’s film when he expresses how disgusted he is with his mother’s hasty marriage, and in Almereyda’s film where Horatio informs Hamlet of the apparition, to add fear. Camera angles are used to give a character power in a particular scene. Zeffirelli uses a high camera angle of Hamlet looking down on the ‘celebration’ as he criticises the way his parents live, suggesting he is more honourable. Also, Almereyda uses high camera angles to look down on Hamlet and low camera angles to look up at

the apparition, in their first encounter, giving the apparition dominance over Hamlet and portraying Hamlet as fearful, and weak. In Almereyda’s version, Act One Scene Two, both the King and Hamlet are disempowered when their reflections are shown in the bottom half of the limousine window, and Gertrude is seen above the window.

Colour saturation and lighting where used in Zeffirelli’s film, to make Hamlet’s skin look bloody from the mouth down immediately after Polonius’ death. Almereyda also used a red light in a photo development room where Hamlet and Ophelia kiss to enhance the passion between them. The music used in the Almereyda film builds tension with the harsh timbre of strings to enhance impact of the dramatic scenes, such as the final scene. Zeffirelli on the other hand, uses a lot of brass instruments to create a grand, royal sound and atmosphere.

Zeffirelli and Almereyda presented vastly contrasting representations of Hamlet. Zeffirelli remained more faithful to the play by representing Hamlet as a powerful, witty, intelligent prince, torn by the devastating circumstance he is in. Alternatively, Almereyda completely reviewed and altered Shakespeare’s construction of Hamlet, omitting his humorous and philosophical nature, portraying him as less intelligent and focussing on his procrastination throughout the film, resulting in a powerless, cowardly and impotent individual.