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Ryan Gallagher

AP Literature

Video Critique

14 November 2011

Video Critique of Hamlet Act 3.1: 87-160

In the play Hamlet by William Shakespeare, the protagonist experiences many conflicting

emotions and dramatic outbursts as a result of the various situations he finds himself in. As a result, I

felt that the most accurate video interpretation of act 3.1: 91-160, the scene in which Hamlet breaks up

with Ophelia, is the Kenneth Branagh version. This is a direct result of how Branagh utilizes all the lines

from the actual play in the scene, while effectively depicting the conflicting emotions that Hamlet

experiences through his acting. Branagh also does a great job of setting up in the scene in terms of what

the characters are aware of, and how it all plays out.

Hamlet’s conflicting emotions throughout the play keep the readers guessing as to what his true

intentions are, or as in the case of this scene, whether or not he actually loves Ophelia, and is best

portrayed in the Kenneth Branahg version. The scene opens directly after Hamlet’s “to be or not to be”

soliloquy, as soon as Ophelia enters the room. Upon seeing her, it is almost as though Hamlet is taken

aback as he declares, “Soft you now, the fair Ophelia. Nymph, in thy orisons be all my sins remembered”

(3.1:87-89). The nature with which he speaks these words seems soft and tender, which accentuates the

possibility that Hamlet is genuinely happy to see her. This theory coincides with the video version in

which Hamlet, played by Branagh, even goes as far as to share a passionate embrace with Ophelia,

portrayed by Kate Winslet, after uttering these lines. It is also important to note how Hamlet refers to

her as a nymph, which in Greek mythology are creatures known for their immaculate beauty, yet

deceitful cunning. From this, the reader is already beginning to get an idea of the conflicting emotions

that Hamlet is experiencing, as he is caught between his love for her, and his disillusionment in the
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human condition. However, in a matter of a few lines, Hamlet’s disposition changes dramatically after

Ophelia presents him with some of the things he gave her during his courting of her. Initially, Hamlet

denies having given her anything, but when she persists, Hamlet begins to question her in disbelief. With

incredulity Hamlet questions her, “Ha, ha! are you honest…are you fair (3.1:102-104). In terms of the

actual play, these lines are noteworthy because Hamlet begins to question her character and intentions,

or rather lead her to examine herself through his questioning.

It is also a well known fact that Hamlet did indeed offer Ophelia letters and gifts expressing his

love her, as was depicted in act 2 scene 2: 109-124,inwhich Polonius reads one of them aloud in the

presence of the King and Queen. This only serves to make Hamlet’s denial of these truths all the more

mystifying, as it is possible that he is renouncing her deceitful nature as opposed to the actual gifts she

holds. As a matter of fact, in the Branagh version, Hamlet goes as far as to violently slap them out of

Ophelia’s hands, which does a great job of illustrating just how little he wants to be involved with

whatever it is she is proposing. Also, the manner with which Brabagh’s Hamlet utters the “Ha, ha!” is

very interesting, in how he opted against depicting it as two defiant laughs, but rather as exasperated

sighs, ultimately depicting Hamlet’s disdain and annoyance with Ophelia at this point. As a matter of

fact, Hamlet goes on to further undermine Ophelia’s honesty when he says, “That if you be honest and

fair, [you honesty] should admit no discourse to your beauty” (3.1:106-07). Essentially, what Hamlet tells

Ophelia is that her outward beauty should likewise match her character, and yet it is tainted by

dishonesty. Though she maintains that she is an honest person, Hamlet goes on to say that, “The power

of beauty will sooner transform honesty from what it is to a bawd that the force of honesty can translate

beauty into his likeness” before affirming to her that “I did once love you” (3.1: 110-14). These lines

serve to reveal Hamlet’s mistrust in Humanity, especially in the case of women, whom he claims use

their beauty as a means of getting away with murder in terms of being honest, as opposed to letting

their honesty and character influence their outward actions. Coincidentally, Hamlet adds in the final line
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about once loving Ophelia, which can be interpreted on various levels: the line ties in directly with the

notion of Hamlet’s conflicting emotions for Ophelia, while also playing on the idea that he once believed

in the concept of humanity doing what was right.

In the Kenneth Branagh version of Hamlet, the way in which Hamlet utters line 114 of act 3

scene 1contrasts with how he spoke the preceding lines in terms of how the tone shifts from accusatory

to informative, and in how the nature of his speech transitions from quick and harsh, to slow and

calculated. In doing this, it is as though Hamlet reverts, even if olny for a moment, back to the demeanor

he portrayed at the beginning of the scene before the two shared their embrace, which only

accentuates his confliction; he is bouncing back between love and hate. Ophelia is taken aback by these

words, stating how, “Indeed, my lord, you made me believe so,” especially in how in the video

interpretation, she looks away as though she deeply hurt by his words and steps back (3.1: 115). From

this point on, it is interesting how Hamlet resumes his angry speech as he declares, “you should not have

believ’d me…I lov’d you not” (3.1: 116-18). Not only have Hamlet’s words regained their sharpness, the

fact that he rebukes Ophelia for ever believing in his promises of love only serves to draw attention to

his disappointment in his own naiveté for once believing in humanity. This is further emphasized in how

Hamlet goes off on Ophelia in lines 120-129, when he tells her to, “Get thee [to] a nunn’ry,” and asks

“why would thou be a breeder of sinners”. In essence, Hamlet is so disgusted with Humanity, and the

inability one has to withstand the corruption that he admonishes Ophelia to refrain from bringing

anyone else into the world. However, because the term nunnery can refer to either an actual convent,

while also being slang for a brothel, it could also be that Hamlet is projecting his anger at his mother

towards Ophelia, as he views the marriage between his mother and Claudius as incestuous and disloyal,

just as a prostitute is unfaithful to not only herself, but all of her partners.

What I enjoy the most about Kenneth Branahg’s interpretation of the play is how he makes

Hamlet aware of Polonious and King Claudius’ eavesdropping, which I feel is exactly what happened in
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the play. However, what’s more is the manner in which Hamlet discovers the act of espionage which

happens as he reiterates the phrase, “Go thy ways to a nunn’ry” in line 128, casuing the King and

Polonius make a noise out of fright. Almost immediately, the music stops, and Ophelia looks in the

direction of the noise. Hamlet stares her down blankly, then looks over to the direction of the noise

slowly, and then back to her in disbelief, before asking her, “where’s you father” (3.1: 128-29). The build

up of that shot, in accordance with the acting captured this moment in the play so accurately, especially

in terms of Hamlet’s disbelief of Ophelia’s answer to his question when she says, “At home, my lord”

(3.1:130).

It is debatable whether or not Ophelia was aware of her father’s presence, but it is more than

obvious that Hamlet took her response for another lie, which only served to upset him all the more.

Hamlet’s angry outburst is accurately captured in the following shots, especially in how he drags Ophelia

around the room, and forces her to look into the mirrors while curses her and wishes that, “If thou dost

marry, I’ll give thee this plague for thy dowry: be thou chaste as ice, as pure as snow, thou shalt not

escape calumny” (3.1: 134-35). As all of this is going on, Ophelia’s fear is very real, as she stands against

a wall and prays, “Heavenly powers, restore him” (3.1: 140). It does not end there for Hamlet, as he

continues his search for the spies while continuing his rant against women when he says, “I have heard

of your paintings, well enough. God hath given you one face, and you make yourselves another” (3.1:

141-42). Once again, Hamlet is revealing his overall disappointment in humanity, and especially in

women and how weak they are, in terms of his mother whom he feels betrayed the memory of his

father through the marriage with Claudius, and now Ophelia who was giving into her father’s schemes.

Even amidst this explosive sequence of shots, Branahg allows for Hamlet to once again revert to his

tenderness, as he hugs Ophelia before running out of the room, which emphasizes the confliction which

Hamlet experiences.
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In the end, it is clear that of all the film versions of Hamlet that were presented, Kenneth

Branagh’s version best captured the essence of the scene through the incorporation of all the lines while

also portraying Hamlet’s internal conflictions through the over the top acting.