In Hamlet’s famous soliloquy, he thinks through, “To be, or
not to be,” (3.1.1) which explores the idea of existing, or not existing. In other
words, Hamlet is contemplating the idea to commit suicide or not. He makes a
few statements that refer to the uncertainty of death such as, “But that the
dread of something after death,” (3.1.23).
Similarly he refers to the negative aspects of life when he says, “The heart-ache
and the thousand natural shocks / that flesh is heir to, ‘tis a communication”
(3.1.8-9). He is referring to the many things that can happen in life, such as
the death of his father. He follows the Ethos appeal that appeals to his own
character and his own personal decision. A major metaphor in the soliloquy is “When
we have shuffled off this mortal coil,” (3.1.12) where he is referring to the
struggle that is life.
In the Kenneth Branagh dub of Hamlet’s soliloquy takes the
style to make a grand spectacle out of the ideas, but creates more of an idea
than a possible action. He is in a great hall and is giving most of his speech
when looking into various mirrors. You can see his entire body as well as his
face, and through his actions and expressions. He holds an extremely straightforward
tone, while also holding a small suggestive of death and suicide. He speaks as
if he is addressing a large company or a crowd, which leads to the idea that Polonius
and Claudius were meant to hear in on his thoughts. While giving this soliloquy
he gives the indication that he is a deranged psychopath.
In a different mood and perspective, Laurence Olivier
portrays in his version of the soliloquy in a significantly different way
through the slightest actions. He is sitting at the top of a giant cliff with
crashing waves attacking the cliff at the bottom. This contributed to the
thoughts of death that were fleeting through Hamlet’s mind. There are also the
changing images that show the waves that also help contribute the thoughts. As well
as the images, there was a dramatic introduction song that helped lead to the
intense mood of the scene. As Hamlet is somberly speaking, he draws a knife and
points it towards himself, indicating the idea of suicide.
Mel Gibson created a strong feeling in his soliloquy. He was
in a tomb, which helped him in the general idea of his soliloquy, being
surrounded by death and dead bodies. He uses a very strong tone and a strong
posture to convey his strong idea of action. Also specifically, when he is speaking
about action, he takes steps up a few stairs, indicating the idea of taking an
action to pursue his thoughts. The setting is also very dark, which helps to
convey they mood and theme of the soliloquy. He is speaking quietly to himself
as his tone rises and falls with the speech.
The last example of the soliloquy takes a very satirical look
onto the decision that runs through Hamlet’s mind. Ethan Hawke finds himself in
an empty blockbuster looking through the action movies section when he begins
at first to think the soliloquy to himself. He is obviously not thinking of
suicide, but more likely thinking of making a decision as to what movie to
choose, as if it was a major life changing decision. It can be shown through his expressions and
the background music, that he is taking the decision very seriously.
The Kenneth Branagh version of Hamlet’s Soliloquy is the most
effective one because it shows the turmoil that runs rampant in his mind. It also
shows how Hamlet is truly distraught by the conflicts in his lives, as well as
indecision to end his life. I feel like this is very similar to my dear Hamlet,
because he is really struggling to keep his sanity right now; he is attacking,
scheming, and speaking to the dead.
I would have had the scene taken place in a bedroom, isolated
from the rest of the world, because that is how Hamlet truly feels, isolated.
There would also be the use or reference of a knife or a sword to recommend the
idea of suicide. When giving the soliloquy, Hamlet would be pacing back in
forth, showing his deep contemplation and thoughts. The camera angle would show
close up, either the face or upper body, to show the directness of the mood.
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