Three Different Versions of "To Be Or Not To Be"

    In Franco Zeffirelli's version of Hamlet, starring Mel Gibson, his choices of setting and staging causes his rendition of the classic to come across differently than in others. Both Lawrence Olivier and Kenneth Branaugh's films of the Shakespearean tale contrast because of such choices as well. By only looking at one scene from each movie, the feeling can be proven to be signifigantly changed. The setting and action of the famed "To Be Or Not To Be" sililoquy is shaped by the way the scene is shot.
    When Mel Gibson takes on the part of Hamlet, he is given much more movement in his speech than in other productions. The angles the camera takes of him change notably more than either other examples of Hamlet. These changes in Hamlet's stance and facial exposure give the speech more of a transitioning effect. Every important new statement in the speech is broken apart by a movement of Gibson or the change in a camera angle. Hamlet, in this version, is visiting his father's tomb when giving these important lines. The setting is dark and still, giving us a feeling of darkness in what Hamlet is contemplating. The setting matches the mood of the segment.
    In the production of Hamlet which stars Kenneth Branaugh, the movement creates the opposite effect. Instead of creating movement in the scene, there seems to be a noticable lack of energy. This gives Hamlet a sort of lazed imagine during his serious contemplation of suicide, wholy the opposite impression the viewer may get of Hamlet with Mel Gibson's acting. Though this version does not puncuate the scene as it did in Franco Zeffirelli's adaptation, the absence of other action may give more emphasis on the actual lines. The black and white filming and dramatic background music gives a more melodramatic feel of Hamlet. Hamlet's setting also leads one to believe he is debating committing suicide at the very moment as we see him on the edge of a tower and variously taking out and inspecting a dagger.
    The biggest visible difference in Kenneth Branaugh's adaptation is the brightness and spendid area which Hamlet contemplates death in. While both other films had this sililoquy preformed in dark, dreary locations, Hamlet here is in a magnificantly ornamented ballroom. Though it can not be said that this room matches the speech, this use of juxtaposition causes the eeriness of Hamlet's thoughts to starkly stand out. This and Hamlet's lack of shown emotion lead us to the conclusion that this Hamlet is even more crazed than in Mel Gibson's portrayl.