Andre Retuta: Film Review

Zeffirelli’s rendition of Hamlet (1990) was really interesting to me right from when I first saw it, which is roughly around a couple of years ago.  It is probably my favorite Shakespeare play, regardless of how limited my knowledge of his productions is.

The first time I saw the film, I was intrigued right away by the dark ambience that started the whole movie.  I have always been a fan of movies with a sombre tone which is probably another reason why Zeffirelli’s Hamlet, compared to other renditions, is my favorite.  One thing that I noticed about Zeffirelli’s Hamlet though, is its immediate divergence from Shakespeare’s original script.  The original script opens with the traditional sequence involving the sighting of the ghost of Hamlet’s father, while Zeffirelli’s opening is instead a funeral sequence of his own design.  We understand right away how much Hamlet distrusts his uncle Claudius, shown in the opening scene where Claudius starts speaking with Hamlet.  The lines “think of us as of a father; for let the world take note you are the most immediate to our throne, and with no less nobility of love than that which dearest father bears his son do I impart toward you.” show Claudius’ attempt at good intentions, while Hamlet’s response shows the distrust he holds for him.

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While we see right away the conflict between Hamlet and Claudius, we also continue to unravel the fact that Hamlet holds his father in the highest regard as opposed to how he holds Claudius, and this is then consistently reinforced all throughout the film.

Somewhat proof of this comparison between Hamlet’s father and Claudius (or lack thereof), is shown in Hamlet’s first monologue.  In this first soliloquy, Hamlet laments about his father compared to Claudius, so delicately captured with the lines “So excellent a king; that was, to this, Hyperion to a satyr…”

In this scene as well, Hamlet expresses his disgust with his mother Gertrude about how his she has now intertwined herself with Claudius after Hamlet’s father’s recent passing.

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This is described accurately by the lines “But two months dead! – nay, not so much, not two…” and also “Why, should she hang on him as if increase of appetite had grown by what it fed on: and yet, within a month…”  The scene from the film ended on Hamlet saying “Frailty, thy name is woman!”, which cut off most of Hamlet’s soliloquy written originally, another deviation from Shakespeare’s original piece.

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Perhaps the most iconic scene in Hamlet is his famous soliloquy from Act 3, Scene 1.  I really like how Zeffirelli introduces this scene, as he starts of from showing Hamlet’s face portraying pure emotion and then pans through the coffins as if to show a subtle longing for death.  Numerous times do we see Hamlet peering at the coffins, also leaning on them as if talking with the idea of the dead being his only audience.  There are also parts in this scene as well that Hamlet looks up at a beaming light, possibly hoping for answers as he ponders thoughts of suicide, before then stepping back into darkness with suggests once again the conflict in his mind – hence, “to be or not to be”.  Finally, this scene was focused more on Hamlet’s monologue itself, that Zeffirelli did not feel the need to put in any background musical score.  I feel that it really captures Shakespeare’s intent of the moment supposedly being dark and sorrowful, while at the same time being powerful and iconic as well.

As a whole, the film – in my humble opinion – is well made from a simple bystander’s point of view.  It may have had some deviations from the original piece that Shakespeare wrote, however I feel that it still captured the emotion and the message that he originally wanted to portray.  The acting in the film also captures the characters that they are trying to portray, yet also distinguished their own style within the character.

Zeffirelli gave a very refreshing take on one of Shakespeare’s masterpieces, Hamlet.

 

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