Rhetorical Analysis Of Kenneth Branagh's To Be Or Not To Be

Kenneth Branagh’s “To be or not to be” speech most effectively displays Hamlet’s deep philosophical ponderings by emphasizing Hamlet’s image and the contemplative nature of his thoughts. In Branagh’s version of the speech, Hamlet stands in front of a mirror, slowly approaching as the camera zooms into his face. This imagery focuses attention on Hamlet himself, emphasizing the reflective nature of his musing through the mirror, which serves as both a visual tool and a symbol. In the scene, Hamlet wears black, bringing attention to him rather that his clothing. When Hamlet unsheaths his bodkin, he points it at the mirror rather than himself, maintaining the idea of the contemplation of suicide, but emphasizing that his thoughts do not exceed

The deeply subtle music underscores the calculated nature of Hamlet’s speech. While Hamlet experience emotion to some degree, his soliloquy serves primarily as an exploration of thought. Lastly, the presence of Claudius and Polonius, who do not appear in the other two versions, provides a reminder that Hamlet has enemies and a purpose, which prevent him from merely ending his own life. In Laurence Olivier’s version of the speech, the imagery focus on turmoil and emotion. The darkness, the fog, and the crashing waves outdoors create a sense of chaos, further emphasized by the initially uproarious music. In this scene, Hamlet lays down for the majority of the speech, pointing his knife to himself. While this scene captures an emotional struggle, it fails to represent the philosophical nature of Hamlet’s thoughts. The sudden shift from loud music to quiet waves and Hamlet’s introspective tone create a scene that seems too basic and emotion-driven to fully capture Hamlet. Ethan Hawke’s version of the scene provides a far different experience. In a Blockbuster video store, Hamlet strolls slowly through the aisles as quietly dramatic music