Abstract
This paper compares Franco Zeffirrelli and Kenneth Branagh's new and different ways of adapting William Shakespeare's play, "Hamlet" into film. The paper shows how each film may depict the play differently, but both directors find and expose Hamlet's frailty, which represents nothing less than mankind's frailty. The paper discusses how both versions of the play illustrate how directors can influence films from a screenplay.

From the Paper
"Franco Zeffirrelli and Kenneth Branagh demonstrate the power of the director in their adaptations of Shakespeare's Hamlet. Zeffirrelli presents us with a hamlet that lives in a dark, grey world. He is sad and crestfallen; he is lost and, in many ways, does not want to be found. The setting highlights his dark mood and Zeffirrelli uses many props to develop his version of Hamlet. Branagh's Hamlet lives in a brighter world, although his inner world is filled with much torment. We also see how directors take privileges with what they omit and add to films. Zeffirrelli left much out while Branagh added questionable material. Both films are enjoyable regardless of their differences; however, Zeffirrelli gives us a Hamlet that seems closer to the man we envision when we think of Shakespeare's tormented price."

Tags:medieval, interpretation, setting

Abstract
In this paper, the writer discusses the acting, setting, costumes, and other elements of Kenneth Branagh's 1996 film of Shakespeare's "Hamlet." The writer argues that the film is a superior rendition of the play.

From the Paper
"The critical response to Kenneth Branagh's film 'Hamlet' was mixed with some critics suggesting that the film was flawed at best and others indicating that Branagh's staging of the classic Shakespearean drama was far superior to other versions of the play found on film. What separates Branagh's 'Hamlet' from other films based on the play is first that Branagh does not use directorial license to cut it down from its minutes. Secondly as Roger Ebert commented Branagh's production employs flashback elements ..."

Tags:Kenneth, Branagh, Hamlet, film, Shakespeare

Abstract
This paper picks out the key differences between Zeffirelli's film translation of "Hamlet" and the original play written by William Shakespeare. The paper contains many quotes that persuade the reader that Zeffirelli's version is better.

From the Paper
"A persistent element in Zeffirelli's version of Hamlet is the image of the unseen onlooker who takes in the action without being noticed. Hamlet is this spy when Polonius admonishes Ophelia not to "give words or talk with the Lord Hamlet." (1.3.141). Polonius is the secret watcher as Hamlet first appears to be mad before Ophelia. Once again Hamlet looks on secretly as Polonius conspires with Claudius and Gertrude to use Ophelia against him. And again Polonius and Claudius watch as Hamlet denies his love for Ophelia. This variable spectator serves not only to further the action (i.e. it plants the seeds in Hamlet's mind that Ophelia is treacherous , or in Polonius' mind that Hamlet is mad because of Ophelia), but also to give the audience a silent spectator to identify with."

Tags:claudius, fortenbras, franco, gibson, hamlet, horatio, mel, polonius, screenplay, shakespeare, william, zeffirelli

Abstract
This paper discusses the depiction of Hamlet in Franco Zeffirelli's cinematic version of William Shakespeare's "Hamlet." It describes how our view of various relationships in the play are altered due to Zeffirelli's use of imagery throughout the film. The paper concludes that Zeffirelli produced a positive introduction to the play of "Hamlet," however that the viewer is left with memories of the images used, rather than the words of Shakespeare's play.

From the Paper
"Gibson's Hamlet is thus an active, sexualized man in a pared-down version of the tragedy, as envisioned by the director Zeffirelli. Zeffirelli cuts any speech that can be reduced to images, making even the editing of the film seem as unreflective as its central character. Also, gentle and potentially contrasting aspects of the characters that remain are cut as well. In the play, a shaken Ophelia goes to Polonius to verbally reports Ophelia's encounter with Hamlet after Hamlet has first seen the ghost. By dramatizing the scene, this places the focus on Hamlet's emotions, rather than Ophelia's inability to articulate herself, and Hamlet's relationship with Ophelia rather than the girl's frightened difficult relationship with her own father. Overall, what little chance she is given to speak, Helena Bonham Carter's Ophelia seems strong and beautiful, a fit adversary for Hamlet in the "nunnery" scene, which also makes his abuse of her seem less frightening and unjustified than it seems on paper."

Tags:tragedy, Ophelia, plot

Abstract
The paper describes the adaptation of Shakespeare's "Hamlet" by Franco Zeferelli and Christopher DeVore that stars Mel Gibson as Hamlet. The paper then looks at reviews of this film as well as of Kenneth Branagh's more accurate and longer version of Hamlet. The paper notes the praises and criticisms of each work and opines that the Zefferelli/Gibson version is a solid performance and an interpretation that is not to be dismissed. The paper also relates that both films were received with equal aplomb and it's best to judge them on their separate merits, as neither is a good reflection of the other.

Outline:
The Adaptation
The Reviews- Gibson vs. Branagh
Conclusion

From the Paper
"The 1990's brought a new Mel Gibson to our screen- this one was dark, brooding, had a tendency towards lunacy, was suicidal, had a penchance for violence but lived in Denmark and spoke Shakespearean prose. Franco Zeferelli saw in Gibson's performance as a suicidal cop in Lethal Weapon, a mirror of the troubled prince of Shakespeare's timeless play. This casting was controversial and brought out vehement protesters and backers.
"The original version of Hamlet - the one that Shakespeare wrote for performance at the Globe theatre- is almost four hours in length. Given the day and age it was performed in, it is highly unlikely that it was ever performed in its entirety. (Cartmell, 2000) Hamlet is double the length of MacBeth and it is the opinion of several scholars Shakespeare simply enjoyed the story, and wrote it as he wished to be, fully aware that it would need to be adapted due to stage considerations, light availability etc. (James, 1990)"

Tags:Mel, Gibson, theater, performance, actors, soundtracks, lighting

Abstract
This paper argues that, rather than distracting from Shakespeare's prose, the media of film heightens the emotive capacity of his plays. In furtherance of this argument, the 2000 production of "Hamlet" set in New York City is discussed, as it successfully employs various cinematic elements that both inform and deepen the characters and plot. It shows how analysis of the film's setting, cinematography, sound, motif, color, editing reveal film as a flexible medium adept at making Shakespeare accessible to a wide audience while preserving the authenticity of his work

From the Paper
"Additionally, Almereyda's approach creates a contrast between the modernity on screen and the difficult Shakespearean language. During the opening soliloquy, Hawke's image is cuts to a video montage of a plane, explosions, and a monster. These two incongruous elements, the contemporary visual images and antique words, presented together achieve something that is distinctly Shakespearean. Edward Hubler, in his critical review "The Tragedy of Hamlet, Prince of Denmark," writes, "A hallmark of Shakespeare's mature work is its simultaneity, the presentation of a thing and their opposites at the same time" (719). The idea that opposites do not detract from each other but rather unite each other through contrast into a state of near-wholeness is evident in Almereyda's film. Simultaneity is carried from the words onto the film itself through images, laboriously highlighting the timelessness of a human tragedy by presenting it in such an atypical style."

Tags:cinematography, denmark, lighting, medium, modernity, multimedia, production

Abstract
The paper discusses how different productions of a play such as "Hamlet" by William Shakespeare will have differing interpretations of characters. The paper focuses on the central female characters in "Hamlet," of Ophelia and Gertrude. It then looks at how they are portrayed differently in two film versions of the play - the 1949 version directed by and starring Laurence Olivier and the 1990 version directed by Franco Zeffirelli and starring Mel Gibson.

From the Paper
"The role of Ophelia differs in the two versions as well. In keeping with the play, the Olivier version shows the deterioration of Ophelia as she descends into madness with the death of her father and other events in the play. The Zeffirelli version treats her in a manner similar to Claudius and Gertrude in that she starts at a high level and stays there. In the Zeffirelli version, Ophelia is distracted from the time we first see her so that her madness seems already entrenched and only needs a push to become full-blown. Her madness does not develop in the time of the play but is part of her make-up from the beginning, so just as we immediately see Claudius and Gertrude as guilty, we see immediately see Ophelia as insane."

Tags:Olivier, Gibson, portrayal, directors, actors

Abstract
This paper looks at the parallels in character, plot, and theme that can be drawn between the suspense film, "The Glass House," and Shakespeare's famous play, "Hamlet." The paper points out the parallels that can be seen in terms of the privileged status of the characters of both stories, the discovery of the truth by the main characters, and their feelings of revenge. The paper then goes on to discuss whether the parallels to Hamlet that are seen in "The Glass House" enhance or detract from the film.

From the Paper
"Although Shakespeare's play does have a prominent part in the film itself and in the parallels of the plot, the film's connection to the play itself is fairly loose. Not everybody in the film dies, for example. Things turn out well when Ruby and her brother end up as charges of the uncle, whereas in "Hamlet" the uncle is the villain. Furthermore, both of Ruby's parents are murdered, whereas Hamlet's father alone is murdered at the beginning of the play. And of course the most important point of tension is the absence of anything ghostly in the film. Ruby does not see her parents' ghosts, but is left to discover the guilt of her guardians by herself. The violence of the revenge however matches the end of Hamlet, where a sword fight culminates in the death of both villain and hero."

Tags:ruby, baker, rhett, princess, california, kill, parents, dishonest, guardian, uncle, murder

Abstract
This paper discusses that, from "Hamlet" ,you can understand the general techniques Olivier would employ in his other Shakespearean films. The author points out that Olivier transformed Hamlet from a dark and moody stage performance to a dark and moody film performance; thus, he has, in every aspect, maintained not only the theme and plot of the play, but even its scene settings. The paper concludes that Olivier is a great, versatile director, like Kurosawa, who not only made movies for the sake of attaining success, but also for giving integral messages to movie viewers through the art of film making.

From the Paper
"It is obvious from Hamlet, that Olivier would make his other movies, based on Shakespearean novels, of manageable length while updating some of the obscure phrases presented in all Shakespeare's stories. Olivier also would rearrange some of the scenes to fit his own style. In Hamlet, he cinematically represented all scenes, which could have been performed on theatrical stages such as the killing of Hamlet's father, Hamlet's act of insanity with Ophelia, Hamlet's seizure by the pirates and the death of Ophelia. In other words, Olivier would try his best to enhance the audience imagination."

Tags:techinque, stage, scene, Kurosawa, style

Abstract
This paper looks at Shakespeare's famous play "Hamlet" from different
perspectives, as it has been re-enacted throughout history. It pays close attention to the movie versions of "Hamlet". The paper starts out with a brief biography of Shakespeare himself and also summarizes and provides an overview of "Hamlet" as a play, its plot, major characters and main theme. The paper then goes on to look at three actors who have played the character Hamlet in movies over the last few decades: Kenneth Branagh, Mel Gibson and Ethan Hawke. The paper provides a brief biography, examines each actor's performance, and looks at other details about each film. The paper then looks at the author's personal reaction to each of the movies and actors.

Paper Outline:
Introduction
Shakespeare Biography
Overview of Hamlet
Kenneth Branagh
Mel Gibson
Ethan Hawke
Reaction to Performances
Conclusion
Works Cited

From the Paper
"But "Hamlet" is not an action movie; it is a tragedy. In comparing the
1990 movie to Shakespeare's original play, we see that the director has taken some liberties to speed up the action by eliminating certain scenes, some of which seem easily disposed of. These edited out scenes include much of Shakespeare's comic relief. Other scenes seem to be missing from the movie version, mainly the important political
subplots that explain the movements of many of the characters in the play".

Tags:Elizabethan, comic, Claudius, Polonious, Ophelia