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Play and Movie Response: Hamlet, Act III Scene IV: Analysis of the Movie
In Act III, scene IV of the 1996 movie, the use of costume, blocking and camera movement convey the transformation of each character in the scene on a course of events where escape is inexistent. The location is at Gertrude’s chamber and the characters in the play are Polonius, Gertrude, Hamlet and the King’s Ghost. In ‘The Closet’ Scene, after the ‘play within a play’, Gertrude confronts Hamlet while Polonius hides to uncover the reason behind his bizarre behavior. Hamlet then kills Polonius as he mistakes him for Claudius and further confronts her mother about her sinful behavior. The costumes used in the scene create a unique mindset of each character. Hamlet is dressed up in black attire which creates a sense of mourning and sorrow. Gertrude dresses up in a metallic low cut attire which signifies her lustful nature. Polonius on the other hand is in an official uniform indicative of his dedication and obsession with duty. Hamlet’s ghost is dressed in a cloak which presents a gentler figure thereby imploring Hamlet to stay on task. In order to clearly depict hurling accusations, the characters in this scene square off as accusations fly.
A contrasting and comparison nature in the scene is magnified where Hamlet charges his mother to compare the merits of her two husbands. The visitation of the ghost is only visible to Hamlet through the use of scene cuts and angles which communicate the presence of the ghost visually to Hamlet and not Gertrude. In addition, the forces outside the character’s view and control lead to unimagined outcomes. The quick cuts between Hamlet and his father increase the depth of emotional impact of the King’s death and the unwavering charge for revenge. Reconciliation is indicated by extreme close-ups at the end of the scene to reinforce the pact made between Hamlet and Gertrude.
Act III Scene IV: Analysis of the Play
The scene is known as the Closet scene. Hamlet confronts his mother Gertrude over her recent decisions. It begins with Polonius advising Gertrude to be direct with him during their confrontation and explains that he would stand behind the tapestry so as to listen to their conversation. He hides just before Hamlet enters and their confrontation starts. From the tone of Hamlet’s confrontation, a feeling of him not wanting to Gertrude to be his mother is vivid. Gertrude calls for Polonius to help him and Hamlet kills him thinking he was Claudius. Their confrontation continues with Hamlet blaming his mother for her unforgivable actions. Gertrude, through Hamlet’s discussion and disclosure feels guilty, and realizes the impact her behavior had on her son. Claudius ghost then appears and Hamlets tells Gertrude about his father’s feelings however sarcasm is seen as Hamlet takes a judgmental role on Gertrude’s behavior. Hamlet advises her to throw away the bad part in her heart. The scene ends with Hamlet confessing to Gertrude that he never trusted Polonius. He leaves while pulling Polonius’ body. Hamlet’s relationship with women is evident in this scene as he is still suspicious of her mother creating an impression of him not trusting women.
From the analysis of both the play and the movie, it can be concluded that the actions in both, the emotional background, the pivotal role, the setting and the costume were effectively tackled. A considerable identity in both is the atmosphere surrounding Gertrude and Hamlet during their confrontation, the anger of Hamlet is clearly seen. Gertrude’s guilt and exhaustion is also visible in her frail words and her posture in the movie. The movie captured all this and brought out a complete manifestation of the events unfolding in the play. These presented the movie as an option for a clear understanding of Shakespeare’s written work.
What surprises me in the film is the fact that the characters were able to infuse their traits as displayed in the plot of the play. Most of the words in the play if not all are imported in the movie. The movement in the play, the cut scene, the emotion, the costume choice, the diversity of the setting and the characters created a magnificent synergy which conveyed the ultimate message in the play. There is also frequent use of flashback on scenes mostly described in the play but not performed within the text, such as Hamlet’s childhood friendship with Yorick.
Overall, Branagh’s production mirrors a close interpretation of Shakespeare’s masterpiece through his execution of character development, transposition of the Victorian setting, the ‘raw’ language use and a cast that took up its role perfectly.
