The Hawke version is in a modern city, New York, and although he is not a prince, he is a hugely rich and well-known person, and his Father owns a large business called the Denmark Corporation and is very wealthy. Almereyda uses bars and nightclubs and interweaves the language into today's setting, using technology in place of imagery, e.g using a wire on Ophelia rather than eavesdropping in the same room. This approach is certainly very original, and gives a personal touch to the film, but in my opinion it loses the tense atmosphere than a more traditional approach would have.
The soliloquy scene is definitely the most important scene in any production of Hamlet, as it is one of the most famous scenes in all of English literature, it displays universal questions. One infinitely complex question is put forward in just 6 words, "to be or not to be", the basic question of whether life is worth living of which after many thousands of years of study no one can yet answer. This Scene also helps the audience to relate to Hamlet and to perhaps allow them to see how Hamlet is thinking, and spark off philosophical thoughts of their own. If acted well, this scene has the power and ability to touch any audience, and can make the whole production seem an astounding masterpiece.
In Zefferelli's film the soliloquy takes place in his fathers crypt, (which helps to add a feeling of heritage and family to the scene) it is a dark, spooky place where Hamlet contemplates his life, and what role he plays in the current situation, and ponders on whether life is really worth holding onto. His situation with Claudius is what enrages him, and specifically the fact that he has not taken action already against Claudius. The ancient setting seems to emphasise the meaning of Claudius' crime, and also emphasise' the use of severe punishment. Hamlet's humanity has a large part to play here, because he is pondering on philosophical questions, asking himself whether he should kill Claudius or not, as he witnesses Claudius seemingly repenting for his sins. Hamlet also wonders whether suicide would be the best answer to all of his problems, he seems to be thinking that if he kills Claudius he will be committing a sin, but yet if he does not then he is not fulfilling his role as a son. This demonstration of humanity helps the audience relate to hamlet, and Gibson's acting through this scene is wonderful at conveying that effect.
In the Brannagh version, his soliloquy takes place in a hallway in front of a mirror, which his Uncle and Polonius watch from the other side, of which Hamlet is unaware. He uses a dagger to illustrate the mortal side of his dilema. He remains very quiet in speaking, yet displays emotions on his face in a very strong manner. He makes the audience very aware that he is not sure of what really keeps him going in his world of murder, ghosts and affairs.
The Hawke version of the soliloquy at first takes place in a video rental shop, and is a voiceover of his thoughts in his head. As he thinks of what his situation is, and of what he needs to do, he looks toward the 'Action' section, which implies he needs to take action on his father's murder and to seek revenge through the death of Claudius. He shows that Hamlet is very enraged inside, though it does not show so much on the outside, as his facial expressions are unchanging, he seems as if he is in deep thought, contemplating his life. The settings for the soliloquy in this production are very good at getting a simple message across, and show that Hamlet is thinking about taking action. It is a more simplistic setting, not as deep as the traditional productions, but is better for a more modern audience, as it is more to the point. Personally, I find it a little weak, with images of death and violence on the T.V screens in the shop, and a more simple view of the soliloquy, but it suits a modern audience well.
The Nunnery scene in the Gibson version occurs in a large open hallway or court, Claudius and Polonius observe from a balcony above, giving a slight suspenseful atmosphere with the thoughts of the crowd wondering if Hamlet will discover them or whether he knows they are there already. Ophelia is stood clutching some belongings and she tries to be very kind and considerate to Hamlet, and Hamlet seems to be acting strange towards her, but not nasty or violent at this stage, just a little preoccupied with his emotions and trying to demonstrate his antic disposition. Hamlet begins to speak with Ophelia quite strangely, with a very jumpy attitude, grabbing her and then pushing her away. Ophelia has obvious love for Hamlet yet she fears him because of his apparent madness.
Hamlet sees the shadows of Claudius and Polonius, and suddenly has a more serious, less playful tone with her. He asks where her father is, and she replies with a lie, telling him he is at home. This is an obvious turning point for Hamlet as he suddenly becomes quite enraged, and is quite aggressive with Ophelia, pushing her and shouting loudly, as he makes his exit with an insult, declaring
"I say, we will have no more marriages. Those that are married already, all but one, shall live; the rest shall keep as they are." To me this scene is very successful in conveying all four of the characters thoughts, emotions and feelings for each other. Hamlet is busy plotting and scheming in his mind, yet becomes emotionally wounded by the fact Ophelia lies to him and betrays him to his enemy. Ophelia is torn between her father and her love for Hamlet, and when he tries to show his antic disposition to her, with the tense atmosphere increasing it becomes very apparent that she is doubting whether he loves her at all anymore. Claudius and Polonius both show slight emotion on their faces, seeming surprised at some of Hamlets strange and slightly insane reactions to Ophelia.
In the Brannagh version, the scene takes place directly after the soliloquy as Shakespeare intended, and there are very high emotions between the two who obviously love each other strongly, with much hugging and kissing to start with. Also the atmosphere from the soliloquy scene is still in the air. Ophelia is very happy, and Claudius and Polonius observe from behind a mirror, quite inanimately. There is an obvious turn in Hamlets behaviour when she offers him the gifts back. He slaps them to the floor and begins to shout at her, then quite violently grabs her and drags her over to the mirrors in the hall where he one by one starts opening them looking for a spy, ranting and raving in quite an insane manner. He gets to the mirror where Claudius and Polonius are sat and presses Ophelia against it, and the audience are left unaware as to if Hamlet is aware of their presence or simply a suspicion or is completely oblivious, either way the mirror plays a role in this, Hamlet pressing her against it shows he is trying to make her look at herself and at her life, as he has been doing. He finishes his rant, then proceeds through the mirror to an empty room as Claudius and Polonius have already fled. This scene also has a lot of tension, with quick flying emotions and sudden changes of attitude toward one another. It is successful at showing Hamlets antic disposition to the audience, and makes Claudius and Polonius aware of his state. Also, it is apparent that Ophelia begins to doubt whether Hamlet really loves her or not, and allows the audience to really feel the raw emotions felt by each of the characters.
In the Hawke version the scene takes place in Hamlets apartment, where Ophelia sits at a table with some gifts. They talk quite unemotionally in a laid back manner, Hamlet offers her a beer e.t.c. They begin to talk and they get quite emotional, or lustful, and begin kissing and groping in a sexual manner, and Hamlet opens her top and finds a wire which Ophelia seemed to have forgotten about in the heat and passion of the moment. Hamlet is angered and begins to shout, Ophelia is evidently distressed, Hamlet is quite aware that Claudius and Polonius are listening and shouts down the microphone, making it apparent to the audience that Hamlet feels distraught and betrayed. With his anger there is an obvious disappointment in his feelings as he believes that Ophelia loves him but she lied to him which saddens him greatly. The decision to play out this scene in a modern apartment is an innovative idea, and will appeal to a modern audience, but like the other scene it lacks the atmosphere, it leaves out a lot of the raw, heartfelt emotions which are conveyed much better by traditional settings and acting. Also, this version seems to focus on Hamlets depression, rather than on his humanity and contemplative states of mind, which again will relate to a modern audience more, but lacks a lot of his true character.
Overall I think the three approaches were very well thought out and planned, and the use of language, settings and re-arranging the scenes worked well in all three versions, but overall I am more of a fan of the Zefferelli version, perhaps due to Gibson's excellent portrayal of Hamlet as an unstable man with too much to deal with, but I felt he could get the emotional value the audience needs to really feel Hamlets character. Brannagh's version also was very successful at conveying the emotional state of hamlet, but somewhat lacked the antic disposition part, which helps make Hamlet. The Hawke version was also very successful, but I feel it was trying to please the modern day audience rather than produce a really good Hamlet play, focusing on a depressing point, lacking the insane, raw emotional value the other versions succeeded in conveying.
