Modern Adaptation of Hamlet: Key Scene Analysis

During this time, Claudius holds up an edition of USA today bearing the headline 'Fortinbras makes bid on Denmark corp. ' and showing a picture of a man with 'a terrorists gaze'11 he rips up the paper. This speech by Claudius (1. 2. ) ends with his reference to Fortinbras 'so much for him' (1. 2. 25)12 rather than 'farewell, and let your haste commend your duty. '(1. 2. 39)13 cutting no less than 14 lines leaving out the appearance of Cornelius and Voltemand as ambassadors to Norway who in the play text pledge there loyalty to the King (1.

2. 40).

When Claudius's speech is over, the scene cuts to the hallway outside the press conference. He appears in the foreground with Polonius and Laertes the hallway is bear and narrow drawing all the attention toward Claudius allowing Hamlet to move away with Ophelia and after she is drawn back to the group by her father they move away again, and she hands him the parcel. Ophelia is fashionably dressed in bright clothing and trainers.

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Wearing her hair in a style reminiscent of a previously cast Ophelia, makes her identity explicit to an audience familiar with Hamlet on screen.

Hamlet is casually dressed wearing sunglasses, which he does not remove for the press conference, and later a hat, particularly fashionable in 2000. Almereyda draws attention to their youth in the hallway scene by placing them close to Claudius, Gertrude, Laertes and Polonius, all of whom are in formal dress. During this scene, Claudius and Laertes converse 'And now, Laertes, what's the news with you? ' (1.

2. 42)14 lines 43-46 that talk of Fortinbras ending with 'what would'st thou have Laertes'15have been cut.

In Laertes's reply the first line is rearranged and the final line, 'And bow them to your gracious leave and pardon'16 cut. The next alteration to the play text comes at 1. 2. 64 when 'but now, my cousin Hamlet, and my son'17 is merged with 'how is it that the clouds still hang on you'18 cutting Hamlets lines 'A little more than kin, and less than kind. '19 And 'not so, my lord, I am too much I'th' sun'20. This conversation takes place outside as Hamlet walks with his mother; Hamlet remains silent, walking solemnly looking mostly at the floor the camera angle is low showing the imposing skyscrapers in the background.

Gertrude's subsequent conversation with Hamlet remains identical to the play text, apart from 'shows of grief' (1. 2. 82)21 being replaced with 'shapes of grief'22 this relates to the images shown so far in the film used to illustrate Hamlets turmoil and anguish. Claudius's speech beginning 'tis sweet and commendable in your nature, Hamlet,'23 differs from the play text first at 1. 2. 89 where, 'but you must know your father lost a father'24 is cut because it is unnecessary as it precedes 'that father lost, lost his; and the survivor bound'25 which says the same thing in a different way.

The speech ends at 1. 2. 96 rather than at 1. 2. 117 cutting 21 lines in which Claudius bombards Hamlet with reasons why his grief is bad and why he should 'throw to the earth this unprevailing woe, and think of us'26. This is where he reminds Hamlet he is heir to the throne. In the play text, these lines can be interpreted as Claudius trying to make an ally of Hamlet something Almereyda did not consider in his version because he wanted to concentrate on Hamlets experience not on Claudius. Almereyda portrays Claudius as power hungry, ruthless, and aggressive toward Hamlet in a discrete manner.

Hamlets final exchange with his mother before she is driven away remains the same as the play text cutting out Claudius's parting words beginning 'Why,' tis a loving and fair reply. '27 (1. 2. 21-1. 2. 28) leaving the scene with Hamlet and his Mother, it is at this point Gertrude removes her sunglasses, implying that up to this point what she had said she did not truly feel. The reflection of Hamlet and Claudius can be seen in the window of the car, the scene ends with Hamlets reply to his mother 'I shall in all my best obey you, madam'28 and a look of distain toward Claudius.