“To be or not to be, that is the question”. Possibly the most well-known declaration made in theatre has been translated onto film. Branagh directed and starred in this original interpretation of the Shakespearian tragedy, Hamlet.
Moving away from Olivier’s dreamier Hamlet and Tennant’s melancholy and unpredictable prince, Branagh established a daring new protagonist. Throughout the film, both his sensitivity and cruelty are emphasised, creating perhaps the most fragile Hamlet yet. This conflict between desire and reason are particularly apparent in his relationship with Ophelia, played by Kate Winslet. Controversially, the sexual intimacy between the pair was made clearer than previous productions. Yet, for a modern audience perhaps this was needed to highlight the closeness between the couple, therefore making Hamlet’s rejection even more painful. In an interview conducted by Radio 3 in 1996, Branagh commented that Hamlet’s suffering originated from him ‘being denied mourning’ of his father. Emotions accompanying the death of a parents; loss, vulnerability, fear and anger, were supressed allowing Hamlet’s obsession with revenge to evolve. Claudius’s observation that his stepson had an ‘unmanly grief’ allowed the audience to understand contextually the association of grieving with femininity and weakness. Therefore, Hamlet becomes a ‘slave to revenge mentality’ as Branagh interpreted in his interview, which is arguably the most prominent motivation in the play.
Apart from playing Hamlet, Branagh had creative licence over the film as director. The decision to illustrate the lavish nature of court was not common. The 1969 production, directed by Tony Richardson and starring Nicol Williamson, was the polar opposite regarding location and general tone. With actors wearing black and court lit mostly by candlelight, there was a constant sense of sincerity and gloom. However, Branagh’s film was dominated by bright whites, blacks and reds with Gertrude, played by Julie Christe, often wearing exquisite dresses. This allowed for a visually more exciting performance, yet the darkness of Hamlet was lost. Especially in the later Acts, the character’s emotions and setting conflicted, preventing effective representation. The central aspect of a corrupt, depressive state was lost which was disappointing.
Overall, Branagh did justice to Shakespeare’s complex study of the human nature. The challenge of bringing script to screen was aided by a talented cast and a thorough understanding of the play. This is one of those films you should aim to watch before you die.
Ishana Seward, City of London Freemen’s
