Bennetts vs Hamlets: most dysfunctional?

 My focus today is on Elizabeth Bennet’s dysfunctional family.  I think that’s one of the great strengths of Pride and Prejudice. Elizabeth is an appealing character because she has to deal with her family:  an emotionally distant, ineffectual father, a shrill, self-absorbed, silly mother, an older sister who is too nice, two slightly annoying sisters who might improve with guidance, and one willful (and not too bright) youngest sister.  Part of the emotional payoff of the ending is that Elizabeth, who has been sincere but mistaken in her perceptions of the people around her, acknowledges reality and is rewarded with a happy marriage.

Most families have some periods of time where functioning is impaired by stressful circumstances. Negative patterns of parental behavior tend to be dominant in their children's lives. Other parents over-function, never allowing their children to grow up and be on their own. Others are inconsistent or violate basic boundaries of appropriate behavior. Controlling parents fail to allow their children to assume responsibilities appropriate for their age. These parents continue dominating and making decisions for their children well beyond the age at which this is necessary. Controlling parents are often driven by a fear of becoming unnecessary to their children. 

The king can't be embarrassed like that and still be a powerful king. 

You are the Director! (Act III)

First line: upbeat, emphasize the word more to compliment Ophelia and he is upset with his mother. Then Hamlet should lie down beside Ophelia's feet. To add some comic relief, Hamlet should look up at Ophelia and just stare at her. Polonius needs to be surprised in his next line because he is protective of his daughter. Since there is a comma after Lady, there should be an awkward pause to make the scene more uncomfortable. Also Hamlet should empathize the word lap. Ophelia is dismissive in her rejection, however she remains respectful. Hamlet alters his seductive tone to be more direct. He knows what he wants and has given up on being witty and charming. Hamlet will emphasize the word country since he is making a sexual reference. He attempts to make up for his poor decision but Ophelia does not want anything to do with the conversation anymore. Hamlet responds in a creepy voice and Ophelia is confused by what he means. Hamlet chooses not to explain himself and she becomes sarcastic and uninterested. In line 77, Hamlet should emphasize the words: "cheerfully" and "died" to assert that he upset with his mother and devious uncle. He chooses not to be subtle with his words anymore and is clearly very angry with his mother and how merciless she is towards his father's death. Ophelia alters her attitude once again and is now concerned with how Hamlet is speaking to her. She recognizes his aggravation, sadness, and insanity. She corrects him to refrain herself from getting involved with the issue at hand. Hamlet is still sarcastic because he believes people should always remember his father for who he was. Gertrude affirms that he needs to let go and move on, so Hamlet is "shocked" that people still remember his father even though he didn't "build a church."

Same Words, Different Interpretations

Polonius is known as the character to flatter the King with his obsequious and servile language. I would emphasize the part: "And, as you said (and wisely was it said)". Polonius is a brown noser and I would direct with to move his hands a lot as a jester to his loyalty. Also, I would perhaps have him bend down to show his inferiority to the King. Moreover, he spies on his children, so I would establish that he is a frazzled character who doesn't really care for his kids.

Dear Dr. Forman...

Dear Dr. Forman,

At first, I was nervous about the assignment! I don't know why, but after I chose which two films to write about, the process flowed from there! I enjoyed carefully watching the films. It was interesting for me to acknowledge my work ethic. I needed to jot some notes while watching the clips. Having a pen in my hand and the act of writing made me more engaged with my analysis and examples. It took me a long time to choose my title. It was very difficult for me to decide which character I wanted to quote. However, I am very fond of my title and I believe it effectively conveys my message composed in my essay. I am so pleased you taught me this trick of quoting a particular character with a colon, followed by a short analysis to draw the reader in. I cannot wait to use this clever idea next year in college! Thank you so much!!

I hope you enjoy my essay! :)

Alexa

Hamlet Second Body

As opposed to Hamlet's cherished relationship with his mother in Gibson's version, Tennant's BBC 2010 interpretation establishes Gertrude and Claudius sharing a more intimate connection. Furthermore, the scene begins with Claudius and Gertrude on the opposite side of the room from Hamlet, thus connoting the detachment and impurity of their mother-son relationship. Claudius introduces the topic of Hamlet's distress with a smirk and sarcastic tone meanwhile Hamlet refrains from making eye contact with neither his uncle nor mother. Hamlet's animosity and aggravation only surmounts Claudius' flawed attempt at sincerity. Once Gertrude approaches Hamlet to discuss his intended departure for Wittenberg, she suddenly adjusts her stern, rigid disposition into a seductive attitude solely to accomplish her goal. While cajoling him with her flirtatious regard, Gertrude grabs Hamlet by the collar of his dress jacket and scratches his chin for a complete sensual effect. After Hamlet complies with his mother's request, she instantaneously moves away from him to revert her full attention back to Claudius. While intertwining their hands, Gertrude approaches her husband's face and gently brushes her nose against his cheek. Doran's direction emphasizes the lack of a relationship between Hamlet and Gertrude; moreover, her pleading is disingenuous and her affection evidently resides with Claudius.

Hamlet First Body

Blocking, body language, and the lack of an ensemble provides Act I, scene 2 of Gibson's 1990 version of Hamlet an obvious, pure mother-son relationship, not overwhelmingly influenced by a devious uncle. Although the scene begins with Claudius drinking and strolling in his castle, Gertrude remains completely fixated on Hamlet. Before Claudius parts to hunt, he attempts to persuade Hamlet that there is no need to dwell on his father's death. Although Claudius' sudden touch on Hamlet's chest connotes compassion, it is still interpreted as a casual gesture. However, Gertrude distances herself from Claudius before he leaves for his quest, thus adorning Hamlet with her full attention and tender regard. Once Claudius exits, Gertrude approaches Hamlet and gently pleads for him not to leave for Wittenberg. Although Hamlet does move away from his mother throughout the scene, she immediately follows and embraces him. In addition to her calm yearning, she rests her head beside Hamlet's shoulder to magnify her affinity for him. Her son simply turns his face to truly acknowledge his mother's words. He reciprocates her love and devotion by submitting himself; he collapses onto his knees and cradles her legs. Moreover, the violin, as the background music, strengthens the sensitive and tranquil setting. This finally concludes the scene with Gertrude twirling with joy and exuberance about Hamlet's decision to stay. Gibson's direction reveals Gertrude's innocence and the genuine connection she shares with her son.

Hamlet Intro Paragraph/Thesis

What is your best idea in comparing two films? The mother/son relationship in regards to Gertrude's interactions with her husband, Claudius, in the versions: Mel Gibson (1990) and David Tennant BBC (2010).


          Mel Gibson and David Tennant both direct utterly distinct interpretations of Act I, scene 2 in their film versions of the play, Hamlet. Gibson chooses privacy over a responsive ensemble and a casual, family orientated setting. Although Tennant does establish a fairly small ensemble in the second scene, he designates the primary focus on Hamlet, Gertrude, and Claudius, in a modern, rigid environment. Although Gertrude remains flirtatious, she does not sustain sincerity and tenderness in both features. Gertrude's relationship with her son in Gibson's Hamlet illustrates affection and earnestness; however, Tennant's approach to their relationship exposes anger, isolation, and beguilement, which reveals the compelling reason why she naturally resides with Claudius for most of the scene.