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-1Stephany Jean

Mr. Gallagher

AP Literature 7

29 March 2010

Hamlet: A Moment of Truth

Kenneth Branagh’s interpretation of the selected scene from Shakespeare’s

Hamlet successfully displays the aesthetic of the classical text. Kenneth Branagh’s use of

oratory skills while reciting Hamlet’s speech “Alas, poor / Yorick” (Line 190 - 191)

allows the original transcript to be envisioned in a new light. Yorick was the deceased

court jester whose skull is exhumed by the gravedigger. The abrupt sight of Yorick’s skull

evokes a monologue from Prince Hamlet on a topic none other than death. Branagh’s

cohesive decisions as a director and an actor lead to the consideration of mortality more

generally. However, Hamlet proves to be the type of character who continuously comes

to life with the assistance of his controversial thoughts and

emotions.

The setting of the selected video takes place in a churchyard late at night. It

exudes a dark aura that is not very welcoming to those who might be passing by. A level

of creepiness is achieved with all the bones that are scattered carelessly around the

gravedigger’s excavation area. Since the scene takes place in a cemetery, it could

symbolize an end to a certain habit or behavior. Being able to realize uncertainty about

death was Hamlet’s entire purpose of speaking with the gravedigger.

Moments before the selected scene takes place the gravediggers are rumoring

whether or not Ophelia deserves a Christian burial in the churchyard. Religion is depicted
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to be unfairly influenced by the social ranking instead of the genuine attributes of their

true self. Shakespeare does this by distinguishing how the upper class nobles receive

different treatment than the poor people. In Hamlet , the behavior in which someone

should act are clearly laid out in the Christian religion. Yet, these codes of conduct

defined by religion are actually contradictory within this society.

The selected scene begins when the gravedigger appears to be nonchalant as

Hamlet and Horatio approach Ophelia’s unfinished burial site. The text appears to be

ironic as Hamlet continues to delve deeper into his fascination with death when comes in

contact with the man who know the most about it. When Hamlet asks “whose grave’s

this, sirrah?” (line 120) the gravedigger replies, “mine, sir” (line 121). The gravedigger’s

responses remain very discrete as the conversation begins between the two. They

exchange quick witted banter about the gravity of the gravedigger’s profession. Still,

Hamlet has a smug expression as he tries to outsmart the gravedigger but in lines 140-

145, he realizes that “the peasant(s)” are not the naïve followers he assumed them to be.

As the camera continues to go back and forth between the two main characters of

the scene, it allows the pace of the scene to quicken. The brisk back-to-back alternating

speakers allows the scene to flow relatively smoothly. The speed of the delivery of lines

mimics the momentum of a heated argument. Since neither can let the other have the last

word, they continue to make themselves seem more coy with their responses. During the

recitation of lines 140 - 145, Hamlet continues to stare at the gravedigger as if he is some

kind of rare specimen. By staring, Hamlet is attempting to understand how the

gravedigger is able to formulate such sly statements. Granted, the characters attempt to

figure each other out by using deception of their own.

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A dramatic shift occurs when the gravedigger begins to talk about Prince Hamlet

unknowingly. His tone softens as he listens attentively to what the gravedigger is about to

say. He finally has the ability to discover what his public thinks about the situation at

hand. The gravedigger’s body language makes him appear to be gossiping about the

Prince’s background. Yet, Hamlet’s facial expression shows that he is dually entertained

by what the gravedigger has to say about him. He fuels the conversation by asking

questions that the audience would assume he already knows the answers to. The purpose

of Hamlet’s antics is to force the gravedigger to go further into detail. The gravedigger

speaks about the Prince as if his life is a tale that “every fool” (line 151) knew about. He

seems to find a joyous aspect in recounting several facts about Hamlet because it assists

the two men find a common ground. After a while Hamlet and the gravedigger appear to

be on conversational terms now. As the comfort level of both parties decreased, the

previous tone of their conversation has diminished so that it is far less intense.

The amicable conversation continues when the gravedigger presents an unknown

skull to Hamlet. When the gravedigger finally reveals that the skull belonged to King

Hamlet’s court jester, Yorick, Hamlet’s facial expression changes completely. His voice

drops down many decibels to almost a whisper. All the same, the gravedigger continues

to smile jubilantly while Hamlet obviously cannot believe his ears because he knew

Yorick personally. When the news finally sinks in Hamlet lifts Yorick’s skull slowly until

he is face to face with the skull. Meanwhile, the gravedigger looks attentively for what

Hamlet will do next. In lines 190 through 203, Hamlet’s tone remains consistent as he

reflects on the good times he had with Yorick during his childhood. His raspy tone quality

of voice emphasizes his melancholy behavior of mourning a deceased companion.

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The background music suddenly becomes a dominant feature as Hamlet begins

his monologue. At first, the conversation was only filled with the conversation shared

between the gravedigger and Hamlet. The integration of music into such a quiet

environment is so subtle that the subconscious could easily look over it if one was not

critically listening. The music is used to signal the audience that the words that Hamlet

are about to speak are dispensing evidences for predominant themes that are weaved

steadily throughout the text.

The camera proceeds to shoot Hamlet directly in the face. The shot quickly pans

to shoot the skull in the face to show Hamlet’s point of view. The skull then disintegrates

into a flashback to where Prince Hamlet was a young boy running and playing around

with Yorick. The scene depicts Yorick as Hamlet last remembered him. His softened tone

of voice successfully adds a personal touch while recounting about the past. Shakespeare

references the human condition when Hamlet finally ponders “where be your gibes

now?” (lines 196). Once again, Hamlet’s attempt to uncover the mysteries of the afterlife

resurfaces. Shakespeare usually allows Hamlet to perceive life this way during his

soliloquies, or in this case, a monologue.

The integration of Yorick’s skull allows Hamlet to question the knowledge that

man truly has regarding the balance of life and death. It allows the protagonist to manifest

the expression of deep and conflicting emotions that are frequently resurfacing. Hamlet

then wonders what type of people the skulls could have possibly belonged to. He realizes

that the frivolous trinkets the society continuously fawns over means absolutely nothing

in the afterlife. The biblical reference of “from dust to dust” supports the idea outlines in

the previous statement. In general, these words are spoken at a burial of some kind.
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Branagh’s execution of the final moments of Hamlet’s monologue was done very

wisely. Hamlet carelessly throws back Yorick’s skull back to the gravedigger as if he has

a “eureka” moment. Hamlet was able to successfully find a moment of clarity through

pondering the meaning of life as a result of the deceased court jester, Yorick. Above all,

Shakespeare is able to show how the world is founded on fundamental inconsistencies

that most member of society are unaware of.