![]() ![]() I know that I am not in the minority when I say that Hamlet is my favorite Shakespeare play. This blog post will compare and contrast Franco Zeffirelli’s Hamlet (1990) and Kenneth Branagh’s Hamlet (1996)-in particular the last half of Act III Scene I, encompassing Hamlet’s soliloquy up until Claudius exits with Polonius. Shakespeare’s Hamlet is arguably one of the most famous plays in English literature. Hamlet (1996 film) directed by Kenneth Branagh When conceiving of the idea to use the players as a means to expose Claudius, Doran’s Hamlet differs from Zeffirelli’s again in that the slowly accelerating camera is used instead of intentionally angled shots of the players and light/dark contrast to show an ominous, cunning Hamlet and a scheming, vengeful Hamlet respectively. “Am I a coward?” and also “Remorseless, treacherous, lecherous, kindless villain!” are both included with similar tones in each version, however, Zeffirelli uses exposure to light to emphasize Hamlet’s weakness whereas Doran uses the contrast between low-angle (Before “O, vengeance!”) and high-angle (Afterwards) shots. When he first asks if they were sent for, Zeffirelli alternates between head-on shots of Rosencrantz/Guildenstern sitting and lower angle shots of Hamlet’s face, right up until Hamlet reveals that “ knows the good king and queen have sent” them, when all three are visible.įinally, both directors’ portrayal of the soliloquy primarily combine elements of lighting, angles, and character direction to create a Hamlet who goes from angry to defeated to cunning within seconds of each other. #Hamlet 1996 full movie dailymotion how toThe same effect of showing two different Hamlets can be seen in each director’s choice of how to direct Hamlet, Rosencrantz and Guildenstern during Hamlet’s short interrogation of them. By contrast, Doran’s Hamlet follows the text exactly, sacrificing simplicity in favor of preserving the complexity of Hamlet’s character and motivations. However, that isn’t to say that Zeffirelli’s is necessarily better in fact, his decisions almost give us a shallower Hamlet whose motivations and thoughtsare more generic and easy to understand. In my opinion, Zeffirelli’s new sequence of events does an admirable job of simplifying the plot without detracting too much from the meaning, as we still have Hamlet’s brooding, his interactions with other characters, and his resulting rage. He then moves backwards to the “ Flourish of trumpets within” before jumping forward again into halfway through the closing soliloquy. With reference to the text, Zeffirelli places the “to be or not to be” soliloquy directly before Hamlet’s friendly encounter with Rosencrantz and Guildenstern, then skips forward from the players’ arrival into just after the First Player’s speech. Perhaps the most readily apparent difference between these versions is that Zeffirelli chooses on more than one occasion to change the original order of events or, in some cases, omit lines entirely. ![]()
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