The first difference between the three movies is what strikes the viewer immediately, the setting and time period. The original play was set in Denmark in the 1500s. Olivier's version seems to be set in about the same era. The fact that the castle is lit by candles, the style of the characters wardrobes and the lack of guns as weapons all fall in accurately with the time period originally established by Shakespeare. This Hamlets castle is built of cold stone and seems almost dungeon like, which suits the Hamlet quotation, "Denm

Branagh's version brings Hamlet into a bit of a more modern time period. First, Hamlet's castle seems to be a bit more modern and designed with the opulence of royalty. The Branagh version uses gas lamps for lighting and there is a pool table in Claudius's room. Also, when Rosencrantz and Guildenstern arrive, they are getting off of a train. There are guns and cannons in this version of Hamlet and when Ophelia goes mad, she is placed in a straight jacket, this puts the date further in time. The wardrobe is also inconsistent with Shakespeare's original play. The men are not dressed in tights and there is a lavishness and brilliance about the costuming and palace. Branagh's version seems to be placed somewhere in the late 19th century.

Olivier's Hamlet never seems to be taken over by the insanity he adopts in attempts to obtain revenge. The point when Hamlet does seem to truly become "mad" is when he becomes crazed at Ophelia's burial. It seems that this is what has finally broken Hamlet.

Branagh's "to be or not to be..." scene is also a note of interest. In the Scott's and Olivier's version, Hamlet does not seem to know nor care whether he is being watched or overheard. In this version, Hamlet performs this soliloquy in a mirrored hall, grabbing Ophelia during the speech and pressing her against the glass. Branagh seems to make the speech angry and entirely for the benefit of Claudius and Polonius who are hiding and listening.

Other characters can be compared the difference of performance. The queen, Gertrude, is a good example. In both Branagh's and Scott's versions, there is no inference of any type of incestuous relationship between Hamlet and his mother, the queen. However, in Olivier's version, there are more than mother-son kisses and embraces, along with passionate looks. What is perhaps the most interesting aspect of all three films is during the final duel scene. In Olivier's version, the queen looks at the poison filled goblet, and then knowingly drinks from it, deliberately poisoning herself. This brings the Gertrude to a whole new level. Whereas before, Gertrude could be construed as a submissive woman, her only act of defiance is now an act of contrition for marrying the man who had murdered her husband. However, it is quite odd that Jean Simmons, who plays Gertrude in Olivier's "Hamlet", appears to be much, much younger than her son.

The relationship between Hamlet and Ophelia does not come across as strongly in Olivier's version. It is portrayed as it was originally written. However, Ophelia's intonations and d facial expressions provide a stronger impression of her being in love with Hamlet. The Ophelia, aside from appearing to truly love Hamlet, comes across as perhaps a bit dreamy and subservient. She seems to actually rely upon her brother and father to tell her what to do. Hamlet and Ophelia's relationship in this version does not come across as deep as in the other two versions. It leaves one to wonder if the termination of the relationship is enough to drive someone mad. This version relies on the combination of her father's death and Hamlet's rejection to lead Ophelia to insanity.

The relationship between Hamlet and Ophelia is portrayed passionately in Campbell Scott's 2001 "Hamlet". This Ophelia is a very strong, passionate, sarcastic woman. She is played by an African-American actress, Lisa Gay Hamilton, which adds a whole new level as to why her father and brother may warn against giving her heart to Hamlet. It is another layer and adds what can be construed as a tangible complication in the Ophelia/Hamlet relationship. When her Polonius and Laertes preach against a possible relationship, this Ophelia comes of as very sarcastic. As if she were only listening and agreeing simply to make them be quiet, without any intentions of heeding their warning. Through this version, Hamlet and Ophelia share no scenes until the "Get thee to a nunnery..."

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Approximate Word count = 2659
Approximate Pages = 11 (250 words per page double spaced)