In the play Hamlet by William Shakespeare (1600), the most prominent motive to be learned is to how revenge is deadly. The theme of death is indefinitely recurring throughout the entire tragedy, from the opening scene with the ominous ghost to the bloodbath of the final scene. Ultimately, Hamlet becomes obsessed with revenge and death after the tragic murder of his father, which eventually leads him to his own downfall. Comparing the two movie versions of Hamlet, directed by Kenneth Branagh (1996) and Franco Zeffirelli (1990), both of these interpretations emphasize how death is inevitable and portray it through Hamlets quest to avenge his father’s murder, and his deep melancholy and apparent madness throughout the play.
The theme of death first shows up in act 1, where the ghost of Hamlet’s father appears and introduces the idea of death and its consequences. Hamlet becomes obsessed with the idea, and is torn and tortured by grief and misery from the death of his father and the “incestuous marriage” of his mother with his uncle Claudius. At this time, Hamlet is in mourning and only sees the world for its immorality and corruption. Hamlet contemplates suicide but retrains himself from completing the act, for he is afraid of what the afterlife has to offer. Instead, Hamlet tells his friend Horatio and the watchman Marcellus “As I perchance hereafter shall think meet To put an antic disposition on” (Shakespeare 191). The most famous instance in which the theme of death is shown is in Act 3, where Hamlet says “To be or not to be—that is the question: Whether ’tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles And, by opposing, end them. To die, to sleep-No more” (Shakeepear 65-68). This again dives further into the idea of the afterlife and suicide. Further in the play, Hamlet seems to become more obsessed with the physically of death. For instance, in Act 4 when King Claudius says “Now, Hamlet, where’s Polonius” (Shakespeare 19). Hamlet replies with “At supper”, “Not where he eats, but where he is eaten. A certain convocation of politic worms are e’en at him. Your worm is your only emperor for diet. We fat all creatures else to fat us, and we fat ourselves for maggots. Your fat king and your lean beggar is but variable service—two dishes but to one table. That’s the end” (Shakespeare 22-27). Hamlets obsession with death, or quite possibly his pretend madness, leads him to tell of the natural cycle of death many times throughout the play. Hamlet brings the face of death into the light and almost finds peace within himself with noticing that we eat in life and we are eaten in death.
Hamlet, directed by Kenneth Branagh (1996) and Franco Zeffirelli (1990) are great interpretations of the original text written by Shakespeare (1600), although only one follows the exact script. In the opening of the Branagh’s (1996) version of Act V scene 2, you will notice the film is set in a far more modern time period and seems to be more enlightening, for it is in an extravagantly decorated palace. Branagh’s version also includes elaborate costumes worn by the characters whereas in Zeffirelli’s (1990) version the set is very dark and melancholy, shown by an old cobblestone castle and an array of black clothing worn by the characters. In the beginning of the scene, Branagh makes no mistake and includes the long in depth conversation between Horatio and Hamlet which describes Hamlet’s sneaky insolent act of beguiling Rosencrantz and Guildenstern to the King of England. As said by Hamlet, “Why, man, they did make love to this employment. They are not near my conscience. Their defeat Does by their own insinuation grow. ‘Tis dangerous when the baser nature comes Between the pass and fell incensèd points Of mighty opposites” (5.2.645-69). This quote is where the first significant presence of death comes about, for at this point Hamlet feels no remorse for ultimately killing Rosencrantz and Guildenstern, for they came in between his revenge plot on King Claudius. To compare the beginning of the Zeffirelli version of Hamlet, the director fails to include all of the script so therefore the message describing Hamlet’s nonexistent feelings of remorse of the death of Rosencrantz and Guildenstern isn’t emphasized. To continue, Zeffirelli cuts the necessary messages of Orsic, therefore eliminating all mockery. The director of the 1990 film, also adds the detail that the duel will be “tomorrow”. To begin the dueling scene, director Branagh (1996) shows the entrance of Gertrude, King Claudius and Laertes in a foreboding tone as Fortinbras army moves in. Hamlet enters and apologizes to Laertes, and the men are given their foils. Both men are suited in white fencing gowns. Their disposition seems to be honorable and determined to win. Comparing to the entrance directed by Zeffirelli (1990), Hamlet and Laertes are dressed in heavy metal armour and are dueling with heavy swords, which is more suitable to the time period of the original Hamlet written by William Shakespeare (1600). To add, the underlying invasion of Fortinbras isn’t shown. Unlike Branagh’s version of Hamlet, Zeffirelli depicts Hamlet gambling around on the arena in sports, to put on an act for the crowd and to toy with Laertes. This scene is important to the development of the theme of death because is shows the underlying urge for Hamlet to avenge his father’s murder. As the scene goes on, Branagh (1996) illistates short camera angles and a rising tension from music to emphasize action as things become hectic, while Zeffirelli (1990) uses longer camera angles and abstains from music and depicts the duel through the eyes of the characters, for it is shown as if it was a play within a movie. In the Branagh (1996) version, Hamlet and Laertes begin their dual eager to get it over with. Hamlet seems to be winning so in his favor Queen Gertrude sips the poisoned wine. The fencing gets more intense with the music, and Hamlet is struck. In the mashup of the duel, sword are switched and Hamlet strikes Laertes and he falls over the balcony. This is different from Zeffirellis (1990) version, for in the beginning it is seemed that Laertes might win for he knocks Hamlet off the arena. In a sweat, Hamlet and Laertes take a short break and in that time Queen Gertrude sips the wine in Hamlets favor. They begin dueling again and with a quick swipe, Hamlet is stuck but quickly after, their swords are switched and Laertes is stuck as well. Hamlet fights through the pain as Gertrude drops and the plan of King Claudius murder is unveiled. Laertes begins his apology to Hamlet and his confession that everything is to be blamed on King Claudius. A said by Laertes in his final words, “Why, as a woodcock to mine own springe, Osric. I am justly killed with mine own treachery” (5.2.336). This quotation represents how revenge is deadly and how death is always inevitable. Branagh (1996), indifferently depicts the Queens death before Laertes to add another aspect of how revenge is always deadly. After both Laertes and Gertrude are dead Hamlet takes his chance and spears King Claudius with his foil, striking him through his back. Hamlet then swung down on the chandeliers rope, colliding into Claudius and shoving the last of the poison down his throat, without any final words. As to describing the theme of death, Hamlets outrageous burst satisfies his plot to avenge his father’s murder and brings peace within himself physically and mentally. “Here, thou incestuous, murderous, damnèd Dane, Drink off this potion. Is thy union here? Follow my mother” (5.2.356-357) by using this line it shows the anger escaping from Hamlet as yet another death occurs. Zeffirelli (1990) shows that after Gertrude and Laertes are dead, Hamlet stabs King Claudius in the heart and pours the poison down his throat. After the death of most, Hamlet is on his final words. Comforted by Horatio, Hamlet says “If thou didst ever hold me in thy heart Absent thee from felicity a while, And in this harsh world draw thy breath in pain To tell my story” (5.2.380-384). The sound of drumming is present after Hamlet’s death as a tribute. Fortinbras does not enter at this point to discuss his awaybeings, instead Zeffirelli (1990) depicts the invading army of soldiers toppling down a statue of King Hamlet symbolizing the death of Hamlet’s family legacy.
To conclude comparing the two film versions of William Shakespeare’s Hamlet (1600), directed by Kenneth Branagh (1996) and Franco Zeffirelli (1990), both interpretations do an adequate job at emphasizing how death is inevitable as did William Shakespeare. Although, Franco Zeffirelli highlighted the theme of death more accurately with his use of clothing, audio, location and symbolism.
