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. 

Act 4

Ophelia enters adorned with flowers and singing odd songs which foreshadows her death at the end of Act 4.  Her grief has been truly driven by her father's death and her insanity affects the way she communicates with the other characters. Shakespeare demonstrates the motif of insanity to exemplify Ophelia's dependence on the men in her life. Polonius' death and Hamlet's leave is another cause to her insanity. Throughout the the play, Ophelia's insanity strongly contrasts with Hamlet's. They differ primarily in its validity. She does not fabricate madness to achieve an ultimate goal, but is truly driven mad by external burdens. 

Act 3

Claudius expresses a sign of weakness in Act 3. After Hamlet's quick thinking to exhibit a short play to grab his uncle's attention, Hamlet finally accomplishes his goal and uncovers Claudius' crime. Once Cladius is left alone to collect himself, he claims that he guilt is now stronger than he ever intended it to be. He asks: "Were thicker than itself with the brother's blood? Is there not rain enough in the sweet heavens To wash it white as snow? Whereto serves mercy But to confront the visage of offence?" It is an interesting decision that Claudius makes to pray. This illustrates his sign of defeat because he believes that his death is very near. He results to praying to save him; however, he is still anxious about the sins he has committed  since he does not know if it is too late for G-d to rescue and forgive him. At the end of the scene, he admits that his words can only do so much since his thoughts are still present on Earth. The heavens do not acknowledge his words as genuine or pure; thus, he claims: "words without thoughts will never make it to heaven."

6 Film Versions of Hamlet

I was intrigued by the different tones and facial expressions exchanged by Claudius, Gertrude! And Hamlet. Although the script and environment were mostly the same in every film version of the scene, the directors approached the details in the conversation very differently. For example, in the 1948 version, the King enters off stage and Gertrude and Hamlet remain close together throughout the duration of the scene. However, in th 1980 version, Claudius and Gertrude open the scene sitting together in their thrones. Moreover, Hamlet stands further away and asserts a more hostile tone to s mother. Also, his back is turned for most of the scene, and he doesn't acknowledge his mother's words.

Hamlet in Act 2

Throughout Act 2, the reader discovers Hamlet's intellectual and impressive diction. His depression leads him to create a clever plan to reveal that his uncle murdered his father. Although Polonius believes Hamlet's mental illness is solely because of Ophelia's rejection, Hamlet plays along to get what he wants in return. Hamlet realizes that he needs to collect himself and fast in order for his plan to be successful. In the beginning of the act, the reader also discovers Hamlet's ability to uncover idiocy and deception. His friends attempted to make it seem that they were just visiting Hamlet, when in fact they were following Claudius's orders. Hamlet is too keen to believe this foolishness and reveals that he knows the truth before his friends even have the time to make up for their awkward, suspicious pauses.

Ophelia in Act I scene ii

Although Ophelia is curious to know why her brother and father do not approve of Hamlet, she remains submissive. However, Ophelia does defend her love with Hamlet. She asserts that their love and affection for one another is real. She finds Laertes' words shocking, but she promises her brother to remember his words and abide to his guidance. Moreover, Ophelia is an obedient daughter. She accepts her father's interference with her love life because she knows he is just looking for her best interest. Although Ophelia does acknowledge and accept her father's "guide to life", I believe she is a strong young woman who will follow her heart to stay with Hamlet. Although I think she is a bit naive, I believe she stays true to herself and remains loyal to love.

Hamlet Act 1

Act 1 Scene 3 

"And these few precepts in thy memory

Look thou character. Give thy thoughts no tongue,

Nor any unproportioned thought his act.

Be thou familiar but by no means vulgar.

Those friends thou hast, and their adoption tried,

Grapple them unto thy soul with hoops of steel,

But do not dull thy palm with entertainment

Of each new-hatched, unfledged comrade. Beware

Of entrance to a quarrel, but being in,

Bear ’t that th' opposèd may beware of thee.

Give every man thy ear but few thy voice.

Take each man’s censure but reserve thy judgment.

Costly thy habit as thy purse can buy,

But not expressed in fancy—rich, not gaudy,

For the apparel oft proclaims the man,

And they in France of the best rank and station

Are of a most select and generous chief in that.

Neither a borrower nor a lender be,

For loan oft loses both itself and friend,

And borrowing dulls the edge of husbandry.

This above all: to thine own self be true,

And it must follow, as the night the day,

Thou canst not then be false to any man."

Throughout Act I, there are several passages that define life's meaning and how one should live life to its fullest. For example, Polonius declares this passage to his son Laertes before he leaves for France. Polonius' words truly resemble my outlook on life and I think this could potentially be a theme throughout the play.