Hamlet Essay (Rough Draft)

“I shall in all my best obey you, madam.” (1.2.120) Michael Almereyda’s, starring Ethan Hawke, interpretation of the relationship between Hamlet and his elders can readily be applied to modern times. From the backdrop of the big city to the technology available for Hamlet’s solemn soliloquy, Almereyda delves into the idea that language can transcend time and setting. In contrast to Almereyda, Gregory Doran depicts Hamlet’s relationship with is elders, starring David Tennant, in an enclosed and private setting. The conversation between Hamlet, Gertrude and Claudius is presented to the public, such as the bishop and the court, yet remains intimate. Although both Michael Almereyda’s and Gregory Doran’s recreations of Hamlet utilize the same language, the setting in which each scene is portrayed creates positive or negative interpersonal relationships between Hamlet with both Gertrude and Claudius.

Hamlet, Claudius, and Gertrude briskly walk through the bustling streets of Manhattan as Gertrude and Claudius begin to entice Hamlet not to travel to Wittenberg. Hamlet, although irritated, attempts to appease his mother when he states that he will attempt to obey her wishes. Michael Almereyda depicts Hamlet as a rebellious teenager, who through inaction and ignoring Claudius’ and Gertrude’s wishes, will avenge his father’s death. Gertrude, while speaking sternly and intensely to Hamlet, keeps forceful and concentrated eye contact. As they walk side-by-side, keeping in step, their conversation is engulfed by the deafening sounds of cars and buses driving by. Although it was meant to be private conversation, the city surrounding them creates a sense of exposure and publicity as they continue to converse. Having such an in-depth conversation while in the public eye can be overwhelming, but also can provide an incentive for rebellion. Hamlet, however, does not utilize this opportunity.

Unlike in other representations of Hamlet, Gertrude uses the car as her means of avoiding further conversation with Hamlet. She uses the windows to aid her point. When she states, “Let not they mother lose her prayers, Hamlet:/ I pray thee, stay with us; go not to Wittenberg” (1.2.118-119), she looks at Hamlet directly as if she was bewitching him to obey her. Once he answers positively, she rolls up her window with satisfaction. The seriousness and sternness of Hamlet’s mother defines their relationship throughout the scene. Displaying such a nonchalant attitude accompanied by scolding tone makes it difficult for Hamlet to argue against Gertrude because she has an air of superiority that allows no opposition. Gertrude’s apparent superiority complex displayed in Almereyda’s film is countered by her subtle flirtatiousness in Gregory Doran’s film.

“Good Hamlet, cast thy nighted color off, /And let thine eye look like a friend on Denmark” (1.2.68-69). Gertrude speaks to Hamlet with a longing and confusion in her voice. She insists that he let go of the memories of his father and start anew, yet she doesn’t understand why he is acting in such a sorrowful manner. With a tone of anguish and hostility, Hamlet is not able to make direct eye contact with Gertrude while she speaks to him. As he explains the truth about his emotions, he continually looks around the room as if looking for answers and remedies to his father’s death. During these moments of uncertainty, Gertrude remains distant from Hamlet, paralleling her distance from him emotionally. Because she cannot comprehend his sadness, she cannot condole him. However, in what seems to be an attempt to appease him for her lack of an emotional connection, she comes close and grabs him by the collar. With this subtle movement, she shows her power to manipulate Hamlet into respecting her wishes to stay in Denmark, even if she was unable to considerate toward his emotional well-being. As she teases and pleads to him, he eventually agrees to obey her. With this simple remark, Gertrude turns around, satisfied, and walks away with an almost childish grin. By restraining Hamlet’s departure she feels a sense of superiority over Claudius because he was not able to get the same reaction and respect from Hamlet. Although Doran represents Hamlet as emotionally erratic when speaking to his mother, Gertrude’s relationship with Claudius is not much improved.

Michael Almereyda’s film displays Gertrude and Claudius as a couple who have different intentions for attempting to keep Hamlet from leaving for Wittenberg. Gertrude speaks to Hamlet very sincerely yet seriously in order to display her superiority over him and to make it more likely for him to obey her. Claudius, on the other hand, speaks to Hamlet more as a colleague rather than a father figure or superior. Although he uses his words to disguise his intentions, he makes it real by trying to relate to Hamlet. He puts his hand on Hamlet’s shoulder as if showing sincerity and care for Hamlet’s well-being. Although the motive for each person to keep Hamlet differs, their goal is the same.

Gregory Doran creates an image of Gertrude and Claudius as a unified body. They seem to have the same the motives, yet Claudius attempts to take over to keep Hamlet. For example, as Gertrude begins to walk toward Hamlet in order to begin to manipulate him into staying, Claudius puts his hand in front of her as if to say, “Stay back. Let me handle this”. With this simple movement, we can see that Claudius seems to believe he is the superior. However, Gertrude is the one who is able to convince Hamlet not to leave. Because she was able to do this, she smiles a childish grin as if to say, “I’m better than you, Claudius”. This subtle facial expression reveals her true feelings toward Claudius.

Whether a background of the big city of Manhattan or the enclosed and private area of a castle in modern Denmark, Shakespeare’s language in Hamlet can transcend the place where it is set. As seen in Michael Almereyda’s interpretation, the relationship between Hamlet, Gertrude, and Claudius can be applied to modern day with their continual arguments to Hamlet’s nonchalant attitude. As if he were a rebellious teenager, Gertrude takes of control of him and makes her point until he gives in. In contrast, Gregory Doran creates an image of a distant family where Hamlet has his own opinion and his elders have another. Although the elders have a goal to keep Hamlet from leaving Denmark, it is Gertrude’s manipulative, flirtatious, and pleading behavior that enticed Hamlet to attempt to obey her. All in all, both directors had the same idea, but the place in which each film was set affected the unification of Gertrude and Claudius and strained Hamlet’s relationship with his mother.