Screenwriters should learn from Shakespeare: Language governs the action

There is no doubt that William Shakespeare’s Hamlet continues to be one of the most intriguing and highly analyzed plays ever written, and the protagonist Hamlet is arguably one of the greatest dramatic characters ever created. From the moment this disconsolate prince enters the scene the audience/reader is made acutely aware of his conflicted soul. This tragic hero is a walking dichotomy that provokes every sort of human emotion, and th-2

sets the stage for the revengeful plot to be carried out. Shakespeare uses the power of language to not only control the plot, but also to establish the storyline, reveal Hamlet’s varied complex character flaws, control fate, establish irony, and to govern the action of the play. Shakespeare brilliantly uses this character to hold the weight of the play with his dialogue, and reveal a vivid display of universal conflict within humanity.

Hamlet’s distress over his fathers death, his mother’s new-found marriage, and obvious distrust of the King are revealed with his entrance in Act 1, Scene 2 as he discourses with the Queen, his mother. However, his comment to the King is most insightful, when he reveals his suspicion and distrust. This comment reveals a lot, because Hamlet is not only displeased with his mother’s choice to marry so quickly after his father’s death, but it discloses Hamlet’s fermenting resentment.

King. Take thy fair hour, Laertes; time be thine,

And thy best graces spend it at thy will!

Hamlet. [Aside] A little more than kin, and less than kind. (1.1.62-65)

Perhaps one of the most dramatically revealing moments in Hamlet is with Hamlet’s famous soliloquy, “To be, or not to be.” Shakespeare introduces this during the middle of the play in Act 111, Scene 1. This moving and powerful monologue alerts the audience/reader that something grim is about to happen, as Hamlet uncovers his “sea of troubles.”

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Hamlet. To be, or not to be: that is the question: Whether ’tis nobler in the mind to suffer
The slings and arrows of outrageous fortune
Or to take arms against a sea of troubles,
And by opposing end them?—To die,—to sleep,—
No more; and by a sleep to say we end
The heartache, and the thousand natural shocks
That flesh is heir to,—’tis a consummation
Devoutly to be wish’d. To die,—to sleep;—
To sleep: perchance to dream:—ay, there’s the rub;
For in that sleep of death what dreams may come,
When we have shuffled off this mortal coil,
Must give us pause: there’s the respect
That makes calamity of so long life;
For who would bear the whips and scorns of time,
The oppressor’s wrong, the proud man’s contumely,
The pangs of despis’d love, the law’s delay,
The insolence of office, and the spurns
That patient merit of the unworthy takes,
When he himself might his quietus make
With a bare bodkin? who would these fardels bear,
To grunt and sweat under a weary life,
But that the dread of something after death,—
The undiscover’d country, from whose bourn
No traveller returns,—puzzles the will,
And makes us rather bear those ills we have
Than fly to others that we know not of?
Thus conscience does make cowards of us all;
And thus the native hue of resolution
Is sicklied o’er with the pale cast of thought;
And enterprises of great pith and moment,
With this regard, their currents turn awry,
And lose the name of action. (111.1.56-88)

Hamlet moves into a very dark, contemplative state, and exposes the flaws in his thinking, his conflicting views on death and nobility, his possible fate, and the recognition that he will have to do something about his own personal conflicts and the plague that looms over Denmark. This is a perfect example of Shakespeare’s use of language to drive the plot forward, establish conflict, reveal Hamlet’s disposition, and set the tone for the remainder of the play.

The Ghost is also an interesting character whose dialogue has a pivotal affect on Hamlet’s mental and emotional state and the fate of the play. By the Ghost revealing the truth about the circumstances surrounding Hamlet’s father’s death, he motivates Hamlet to commit murder, the ultimate revenge, and lose his soul!

Ghost. My hour is almost come,

When I to sulphurous and tormenting flames

Must render up myself.

Hamlet.   Alas, poor ghost!

          Ghost. Pity me not, but lend thy serious hearing

To what I shall unfold.

Hamlet. Speak; I am bound to hear.

Ghost. So art thou to revenge, when thou shalt

hear.

Hamlet. What?

Ghost. I am thy father’s spirit;

Doom’d for a certain term to walk the night,

And for the day confined to fast in fires,

Till the foul crimes done in my days of nature

Are burnt and purged away. But that I am forbid

To tell the secrets of my prison-house,

I could a tale unfold whose lightest word

Would harrow up they soul, freeze thy young blood,

Make thy two eyes like stars, start from their spheres,

Thy knotted and combined locks to part

And each particular hair to stand an end,

Like quills upon the fretful porpentine:

But this eternal blazon must not be

To ears of flesh and blood. List, list O, list!

If thou didst every thy dear father love—

Hamlet. O God!

     Ghost. Revenge his foul and most unnatural murder.

     Hamlet. Murder! (1.5.7-26)

Not only does this speech reveal background, and feed Hamlet’s rage, it unlocks a thick unsettling within the plot of this play. Is the Ghost used by Shakespeare to create a diabolical manifestation that lures Hamlet into a fated doom? The dialogue certainly plays an intricate part in plot development and discloses the power of choice existent in every man. Is Hamlet’s madness self-induced? The language in this play is a powerful tool that helps impart Shakespeare’s theme within the play.

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Hungry?

I was finally able to go see the current running comedy, Chef the other night, and let me warn you now…don’t go to the theater hungry! It’s a real palate-teaser! You’ll be salivating over the food Chef Carl Casper (Jon Vavreau) serves up – that is if you’re not a vegan or vegetarian. We don’t get to just view the food; we see how it’s prepared! From the speed slicing to watching Casper butcher a pig, it’s all about cuisine, even though a Los Angeles Times food critic (Oliver Platt) is less-than impressed.

Serving up a star-studded cast: Chef star writer/director, Jon Favreau, the ever-sexy Scarlett Johansson, stunning Sophia Vergara, Dustin Hoffman, sous chef buddy, John Leguizamo, adorable Emjay Anthony, Casper’s 10-year-old son, who frequently steals the show, Oliver Platt and a fleeting encounter with Robert Downey Jr., whose character is offbeat and probably unnecessary.

Chef Casper is an outstanding chef, or at least he used to cook from the heart, but things have been going downhill for the robust cook. Newly divorced, he tries to juggle fatherhood while working as the head chef at a thriving restaurant in Los Angeles.

His claim to fame quickly comes to a halt when his boss forces him to stick to the “traditional, boring” menu, and he’s given an insulting review in the Times. In an effort to reclaim his honor, Casper gets his son to help him set up a Twitter account and publicly confronts the reporter on Twitter, setting off a widespread cyber war. As a result, the angry chef gets fired and finds himself in a pickle!

Casper’s ex-wife, the lovely Vergara makes him an offer he can’t refuse: She gets him to accompany her and their son to Miami, where she arranges a meeting between her wealthy first ex-husband (Robert Downey Jr), and Casper. Casper is given a dilapidated food truck so he can get back to basics and cook the way he wants.

If you haven’t salivated yet, I assure you it will happen once the food truck is cleaned and remodeled. Aye carumba! Joined by his cooking buddy Martin (John Leguizamo), who shows up out of nowhere, Casper taps into his creative side and creates a Cuban sandwich menu sensation. Casper, his son Percy and Martin cook their way back to L.A. – road trip style. Midpoint, the film becomes ridiculously predictable. There are no surprises, but there’s some good Latin music, great looking food, and moments of sentimentality as the chef enjoys much needed “quality” time father-son moments while on the road, blogging and tweeting as they go!

By the time “El Jef Cabanos” makes it back to L.A., Chef Casper’s fame has spread through the land! He’s back, cooking his own food and all’s well that ends well. Not only does Chef Casper get his creative juices flowing, his relationship with his ex-wife and Percy are fully restored, and the journalist who gave Chef a bad rap is now singing his praises after downing one of his Cuban sandwiches. So much so, that he backs him and Chef Casper opens his own restaurant! Although the film is ridiculously predictable, and the plot resolutions are somewhat contrived and unrealistic, it has some endearing moments, and the food looks pretty amazing.

Guaranteed… you’ll walk away hungry!

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