Hamlet and the Art and Technique of Film
As our only major writing assignment about Hamlet, it’s time to revisit the three films we've been
watching and consider some of their differences in interpretation. What can we learn about film from
Hamlet? What can we learn about Hamlet from film?
In a nutshell (ahem), you'll be doing the following:
1. Pick one scene (or part of a scene, as the case may be) from Act III
2. Study Shakespeare's text in depth to understand how it comes across on the page: what is left open
to interpretation?
3. Watch the interpretation of the scene in all three films, noting the differences in character, meaning,
theme, and even plot in some cases. Note the filmmaking techniques used in each version.
4. Write deeply and fluently in which you contrast two of the interpretations (ACP) or all three
(Honors), making conclusions about the over-all interpretation of Hamlet (the play) and of Hamlet
HAMLET (1996), directed by Kenneth Branagh
Starring Kenneth Branagh as Hamlet, Kate Winslet as Ophelia, Derek Jacobi as
Claudius, Julie Christie as Gertrude, Richard Briers as Polonius
Set in the late-19th/early-20th century in Denmark. Filmed in England at the palace of
the Duke of Marlborough in Woodstock, Oxfordshire, with some interior scenes
filmed in a studio.
HAMLET (1990), directed by Franco Zefferelli
Starring Mel Gibson as Hamlet, Helena Bonham Carter as Ophelia, Alan Bates as
Claudius, Glenn Close as Gertrude, Ian Holm as Polonius
Set in the 156h/17th century in Denmark. Filmed in Scotland and England at various
castles (notably Dunnottar and Blackness castles in Scotland), and Dover and
Rochester castles in England, as well as interiors in a studio.
HAMLET (2000), directed by Michael Almeryeda
Starring Ethan Hawke as Hamlet, Julia Stiles as Ophelia, Kyle MacLachlan as
Claudius, Diane Verona as Gertrude, Bill Murray as Polonius
Set in the 2000 in New York City. Filmed in Manhattan in various locations,
including the World Trade Center plaza (pre-9/11), the Guggenheim Museum, a
Blockbuster video store, a laundromat, and Central Park.
Scene we'll model in class: “To be or not to be” from III.i
Scenes you will study in groups and write about individually:
• III.i: Hamlet and Ophelia Hamlet gets angry at Ophelia (an understatement) when he realizes she’s
helping her father spy on him. Get thee to a nunnery, Ophelia?
•
III.ii: “The Mousetrap” and its effect Hamlet’s version of “The Murder of Gonzago”—retitled
“The Mousetrap”—is performed for the kingdom. Does it “catch the conscience of the king” or does it
backfire? Or both? What does everyone in the kingdom think of the play? What do they think of Hamlet?
•
III.iii: Hamlet and Claudius in the chapel Hamlet sneaks up on Claudius while the king seems to
be praying alone. Does Claudius feel guilt and shame? Will Hamlet finally kill him?
•
III.iv: Hamlet and Gertrude in her bedroom Hamlet confronts his mother and forces her to
see the evil of her ways. The Ghost reappears. Hamlet finally kills someone…but not the right person.
G block
Group 1: scene i
Group 3: scene iii
lines 96–203 (end of scene)
Ethan
Ting-Han
Jessica
Brandon
Lotan
Garrett
lines 1–130 (entire scene)
Tamara
Alex
Isaac
Dominic
Perry
Yuheng
Group 2: scene ii
Group 4: scene iv
lines 96–321 (before R & G’s
exchange with Hamlet)
Emma
Vinny
Tristan
Tommy G
Tommy M.
Camille
lines 1–240 (entire scene)
Brianna
Daniella
John
Mark
Yaron
Jonathan
B block
Group 1: scene i
Group 3: scene iii
lines 96–203 (end of scene)
Yacine
Ming
Julia
Alexis
Claudia
Ella
lines 1–130 (entire scene)
Ben Gross
Marissa
Tara
Langdon
Talisha
Alex S
Group 2: scene ii
Group 4: scene iv
lines 96–321 (before R & G’s
exchange with Hamlet)
Conan
Izzy
Ben G-O
Emily
Ethan
lines 1–240 (entire scene)
Wyatt
Ashley
Sammy
Alex C
Artem
What everyone will do
! Read the scenes before each day – NOTE: we are focusing on specific lines in some scenes, and
leaving out discussion of other lines. See the groups lists for specific line notations.
! Note the key speeches by using the discussion questions for each scene
! You should pay extra attention to the scene that your group is responsible for
! Discuss the scene as a class
! View all the scenes in class
What to do in your groups (35 points)
! Go on the Wikispaces and contribute to the discussion of the scene
! You should contribute at least one post on each thread, with a specific interpretation; in addition,
you can react to one another’s comments (or do a hybrid original post/reaction)
! In the discussion areas where you need to look at dialogue, you must quote lines from the
play and explain their interpretation
What to do individually in written form (65 points)
! ACP: Compare and contrast 2 adaptations of 1 of the scenes
! H: Compare and contrast all 3 adaptations of 1 of the scenes
! NOTE: You do not have to write about the scene that your group discussed, but
you will have a head start on that scene given the Wikispaces discussions
!
!
!
!
GUIDELINES for writing:
A basic introduction where you lay out the major differences in interpretation between films. i.e.,
“Whereas Branagh’s version of the scene shows a deep bond between Hamlet and Ophelia and
great anger at her betrayal, Zefferelli’s shows a much more bitter Hamlet, and a much more fearful
Ophelia, while Almeryeda’s interpretation emphasizes Hamlet’s despair and bitterness, and Ophelia’s
relative youth.” Not that you want to pack all that into one sentence….
You can do the comparison/contrast in one of two ways:
o One film at a time, i.e., Branagh, then Zefferelli, then Almeryeda, or another order;
OR
o One aspect of the scene at a time, comparing both or all the films within each paragraph, i.e., a
paragraph about the portrayal of Hamlet’s character across the films, noting dialogue differences
as well as filmmaking technique; then another paragraph on a different aspect of the scene, e.g.,
another character’s role in the scene, and how the dialogue and filmmaking contributed to that
interpretation
CONSIDER only relevant aspects of the scene and relevant techniques that
affect the interpretation of the scene. Don’t bother with irrelevant, minor, or incidental
components of the filmmaking or plot/character development.
A conclusion that shows an understanding of how Hamlet—and specifically the character Hamlet—
can be understood differently depending on the adaptation. In other words, a strong conclusion will
show the often stark differences in the interpretation of Hamlet’s character: his motivations, his
behavior, his instincts, his treatment of other characters, and/or
Ways of identifying differences in interpretation in all the scenes:
Hamlet the character Examine how Hamlet is played by the respective actors: Kenneth
Branagh, Mel Gibson, Ethan Hawke. You may reference other scenes earlier in the
respective films to establish what “kind” of Hamlet we’re dealing with, in terms of the acting
style and choices of the individual actors. Is Hamlet sympathetic or not? intelligent or just
scheming? bold or just annoying? Do you believe he wants revenge?
other characters How are other characters portrayed? Ophelia, Claudius, Polonius,
Horatio, Gertrude...whether through acting or highlighting/foregrounding by the filmmaker,
what do these characters change about their respective scenes? For instance, is Ophelia a
helpless little girl, a heartbroken lover, a confused and angry ex-girlfriend?
our feelings toward Hamlet How does our understanding of Hamlet’s plight—and our
sympathy for him and/or our frustration with him—change by way of the staging in each
interpretation? Do we care more or less about his need for vengeance? about his approach
to vengeance? about his reasoning and treatment of others?
Ways the film can affect these aspects of interpretation:
the film's technique and design How are certain aspects of each scene put on film? Where
are the characters placed (blocking), how do sets and locations make a difference? how does
the camera make meaning? how does lighting affect things? color? editing? music and
sound?
dialogue What lines of dialogue are emphasized whether by the actors or by the way the
pace of the scene unfolds? What lines are cut from the scene altogether? What lines are
transposed into the scene from elsewhere (this will occur more than once)? What effect
does this have on the scene?
public and private What lines of dialogue are heard by which characters? i.e., is it a private
conversation or something the whole group can hear? How does it matter that someone
can hear someone else?
Scene-specific points of comparison
III.i: Hamlet with Ophelia
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This scene gives us one of our best views of Ophelia; consider the actress playing her
and how she plays the part in relation to Hamlet: is she in love? is she confused? is she
scared of him? The three actresses are Kate Winslet (Branagh), Helena Bonham-Carter
(Zefferelli), and Julia Stiles (Almereyda).
How does Hamlet behave differently here than we've seen previously? Is he being
sincere?
How does the film portray Claudius and Polonius as “lawful espials”? (the latter part of
the scene)
III.ii: TheMousetrap
•
Where are characters placed here and how is it important? How is Hamlet himself
placed in different parts of the scene (or, more fittingly, how does he move?)?
•
•
•
•
How much of Hamlet's conversations (with Ophelia and with Gertrude and the King)
can be heard by the larger audience of “The Mousetrap”?
How does Hamlet behave as the play is performed and gets closer to the climax where
the poisoning occurs?
How does Claudius react to the play? (a key—if not the key—question) When all is said
and done, what exactly is Claudius reacting to according to each film interpretation?
How does Horatio play into the scene in each instance—before and after the
performance? How does he react to Hamlet's questions after the play?
III.iii: In the Chapel
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Where are the two characters placed and how is it important?
This is one of the Claudius's key scenes. Consider the actor's choices in expression and
body language: Derek Jacobi (Branagh), Alan Bates (Zefferelli), Kyle MacLachlan
(Almereyda)
It's important to note that Claudius's words are a true soliloquy, and that Hamlet cannot
actually hear him. How does each film play with this idea?
What lines are cut from the scene in each version, and what effect does this have?
What does Hamlet's action (or lack thereof) mean for our understanding of his
character?
III.iv: In Gertrude's closet
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How are the mechanics of the scene accomplished given the set? (the stabbing, the
ghost, etc) and how important are they to the scene?
This is Gertrude's “close-up” in the play—she has more lines here than anywhere else.
How is she portrayed in relation to Hamlet? Does she feel guilty? Angry? Scared? Are
Hamlet's words affecting her? Consider the actress's choices in expression and body
language: Julie Christie (Branagh), Glenn Close (Zefferelli), Diane Verona (Almereyda).
Can we glean anything about Gertrude's complicity (or not) in the death of her first
husband?
What of the Ghost's appearance? Note its timing and how it appears. Consider the
actor playing the Ghost as a factor: Brian Blessed (Branagh) Paul Scofield (Zefferelli),
Sam Shepard (Almereyda)
How does Hamlet treat Polonius at the end of the scene?