Hamlet has been performed and recreated in countless ways. Each variation holding a different experience for the audience through the creative choices that the directors make. The three versions of Hamlet each showcase a new and unique interpretation of Hamlet’s famous soliloquy, “To be or not to be”. Franco Zeffirelli's adaptation of Hamlet released in 1990, Kenneth Branagh’s adaptation in 1996, and lastly the latest modern adaption out of the three, Michael Almereyda’s released in 2000. However, there are certain choices that the directors made that enhanced and built-upon the original Hamlet play. Kenneth Branagh’s rendition is the most effective version due to it’s well-thought-out cinematography, and the music. These enhance Hamlet’s internal
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Hamlet is conversing with himself in the mirror, as though he is talking to the other side of himself that is hidden within. He speaks about an extremely delicate theme that holds no correct answer. Hamlet does not have the courage to execute Claudius, but he must achieve justice. Kenneth utilizes camera techniques with great refinement; when Hamlet approaches the mirror, the camera gradually zooms in on the reflection. We no longer see Hamlet, and this adds metaphorical meaning to the situation as the audience watches his reflection. Mirrors symbolize the barrier between conscious and unconscious mind, showing both a spiritual and physical reflection. In the spiritual sense, it symbolizes a process of self-evaluation. The mirror reverses his image and he is contending with himself, and only himself. Branagh is trying to convince the “real” him to commit suicide, but the reflection is denying him. He speaks of how death is the solution to his problems, however, he contemplates that perhaps it’s better to be alive than to wander off into death’s “undiscovered country”. At this moment the camera frame is entirely the reflection. Not only that, but the reflection appears to be pointing the knife at Hamlet, emphasizing the denial of suicide. The undiscovered country symbolizes the obscurity of death. It presents the idea that we endure these painful moments because we are unsure if death will bring peace or continued suffering, and that’s just as scary as current
Hamlet is conversing with himself in the mirror, as though he is talking to the other side of himself that is hidden within. He speaks about an extremely delicate theme that holds no correct answer. Hamlet does not have the courage to execute Claudius, but he must achieve justice. Kenneth utilizes camera techniques with great refinement; when Hamlet approaches the mirror, the camera gradually zooms in on the reflection. We no longer see Hamlet, and this adds metaphorical meaning to the situation as the audience watches his reflection. Mirrors symbolize the barrier between conscious and unconscious mind, showing both a spiritual and physical reflection. In the spiritual sense, it symbolizes a process of self-evaluation. The mirror reverses his image and he is contending with himself, and only himself. Branagh is trying to convince the “real” him to commit suicide, but the reflection is denying him. He speaks of how death is the solution to his problems, however, he contemplates that perhaps it’s better to be alive than to wander off into death’s “undiscovered country”. At this moment the camera frame is entirely the reflection. Not only that, but the reflection appears to be pointing the knife at Hamlet, emphasizing the denial of suicide. The undiscovered country symbolizes the obscurity of death. It presents the idea that we endure these painful moments because we are unsure if death will bring peace or continued suffering, and that’s just as scary as current