A Filmic Analysis of Hamlet Essay

Shakespeares crossroads inspired many film directors to suit the play onto the big screen. In Kenneth Branaghs version, he takes on the contend of both directing the film and portraying Hamlet. In Marco Zeferellis edition, notable actor Mel Gibson stars as Hamlet. The directors use different aspects of cinematography and mise-en-scene to depict classifiable interpretations of the famous To be or not to be monologue.Branagh interprets the scene as a contemplation of Hamlets decision whether to kill himself or Claudius, whereas Zeferelli construes the scene as a deliberation of sprightliness, wipeout, and the after demeanor. Branagh uses props, varied camera locomotes, and careful acting to describe the To be or not to be monologue as a brooding decision haunting Hamlet of perform versus inaction. Branagh begins the soliloquy liner a two-way mirror, with Polonius and Claudius hidden behind it. The sense of hearing sees Hamlet staring directly at himself, while as well facin g the concealed men behind the mirror.This personifies the idea that Hamlet is hesitant round taking action against his own life or taking the life of Claudius Whether tis nobler in the mind to suffer / The slings and arrows of outrageous fortune, / Or to take subdivisions system against a sea of troubles / And, by opposing end them (3. 1. 65-68). The camera angle consists of a medium close-up on the intense concentration of Branaghs lay out, expressing the faultfinding contemplation of his life and Claudiuss. Later in the soliloquy, Hamlet uncovers a bodkin, pointing the weapon towards the two-way mirror in a manifestation of action versus inaction.The redness of the scene highlights Branaghs face and angle of inclination with explicit detail, leaving no call into question to the viewer about his intent on either cleansing himself or Claudius. However, Branagh neglects to analyze Hamlets actual contemplation of expiry itself. Zeferelli focuses on Hamlets reflection of dea th as an bring forth and also the ambiguity of the afterlife. Mel Gibson recites the To be or not to be soliloquy in a royal tomb where his father is buried. The morbid prospect suggests a theme of death. The low-key lighting emphasizes an ominous quality associated with Hamlets musing of the afterlife.Gibson meticulously edges through the graves, using composed oral communication to reflect upon his life and the life of his father For in that sleep of death what dreams may come, / When we have shuffled off this mortal coil, / Must give us pause. Theres the respect / That makes calamity of so long life (3. 1. 74-77). Hamlet believes that the hardships of life become resolute through death. The turmoil of gentleman affairs perishes along with an individuals life. Gibsons acting and disposition suggest that he thinks death is more appealing than life.His ponderings are not a question of action and revenge further a question of the actual prospects of death and what comes after d eath. The setting in a tomb highlights this as well as Gibson keenly looking up towards heaven during the soliloquy. Although the two directors interpret the To be or not to be soliloquy differently, similarities exist between the two scenes. The acting of Branagh and Gibson both reflect heavyset contemplation Branagh being more concerted and Gibson being more reflective. two actors use Shakespeares words very thoughtfully and precisely, and keep their voices in a soft but convincing monotone.The camera angles of the scenes are also similar with the shot situated intently on the actors faces, either focussed in a fixed position on Branagh to represent outstanding credence or zooming in slowly on Gibsons face to represent a more reflective quality. Both directors do an majestic job conveying the message that their cinematographic and acting choices suggest. The To be or not to be soliloquy is interpreted in many different ways, but Branagh and Zeferelli artfully choose one aspec t of the scene to focus on.