In fact, the American fascination with corporations has made those in power positions, like Jack Welch, Donald Trump, and Bill Gates, into celebrities, or modern royalty. Almereyda makes the point that: There's still a class system in America, people who have things and people who don't, and people who have things tend to make sure they keep having them and controlling them, and that's aligned with corporate power, which is such an overarching power that you can't even attack it without becoming a part of it (Almereyda)
This makes Hamlet's anger at her, which can be almost incomprehensible in a stage production, extremely understandable. Of course, the traditional view of Ophelia is that she "has been shaped to conform to external demands, to reflect others' desires" (Dane)
One of the most interesting ideas in most productions of Hamlet is that as Hamlet's need for vengeance grows, he becomes less of himself. In fact, according to Fidel Fajardo-Acosta, "in his desire for revenge and for the throne, Hamlet is not all that different from the villainous Claudius and is forced to descend to his own level: lying, scheming, and murdering in order to accomplish his ends" (Fajardo-Acosta)
In Almereyda's movie, Gertrude knows that Claudius is attempting to kill Hamlet. In fact, according to Alexandra Marshall, Gertrude's "knowing that her new husband intends to kill her son -- "provides a tragic gravity that is missing when her death by poisoning is played as entirely accidental" (Marshall, 83)
Perhaps the reason that Hamlet does not strive to prove or disprove a romantic relationship between Claudius and Gertrude that predates the betrayal is to avoid having to avenge his father. According to McConnell, Hamlet is not morally obliged to seek revenge for his father; instead his need for vengeance is at the root of Hamlet's complexity (McConnell)
.the centre of evil of the play's plot and of the kingdom is Claudius" (Moriarity)
Hamlet is known for his ability to plan things but is also noted for his faulty decision-making, especially after proving to himself that Claudius is indeed his father's murderer. An analysis of his character will reveal that Hamlet is a man who is torn between committing revenge and giving justice for his father and killing a person, especially a family relative and his stepfather: "Although Hamlet loved his father and grieved deeply for him, fear of doing wrong prevented him from doing anything at all" (Wilson 1993)
Now we have the ghost to blame for posessing Hamlet as a devil. The centrality of the ghost to the play's metaphysics might be inferred from the fact that William Shakespeare acted as the ghost and the player king (Bloom), a strange chimera and bellerophon within the anatomy of the play
In Hamlet, the ghost triggers an enquiry into morality that becomes more and more complex as the plot develops. Greenblatt, in Hamlet in Purgatory, states that "what is at stake in the shift of emphasis from vengeance to remembrance is nothing less than the whole play" (Greenblatt 208)
The hidden agendas show up the very first time we meet each of the characters that have them. Hamlet's very first line is an aside referring to his uncle as "a little more than kin, and less than kind," while in his second line he addresses Claudius simply and respectfully as "my lord" (Shakespeare, 1599)
The first scene of Earnest reveals both Jack and Algernon's secret agendas also. After getting Jack to admit that his name isn't really Ernest, Algernon says, "I may mention that I have always suspected you of being a confirmed and secret Bunburyist; and I am quite sure of it now" (Wilde, 1895)
Hamlet and Revenge Hamlet -- Prince of Denmark -- is considered to be one of Shakespeare's greatest plays. (Meyer, 2002)
The only redeeming feature in this tragedy is that Hamlet assures that Denmark is left in capable hands. In keeping with Elizabethan revenge play formulas, which themselves were borrowed from the Greeks and to some extent from the Roman playwright Seneca, Shakespeare, according to some, having borrowed liberally from Thomas Kyd's "Spanish Tragedy," (Rowse, 2000)
Shaw has averred that it was Hamlet's depression that caused him to delay his revenge. (Shaw, 2002)
Some have averred that his rage against his uncle is fueled by oedipal urges which have come to the fore. (Staub, 2004)
He needs this in order to feel safe in the chaos of his world since his father's death. When his mother does not react in the way he expects, Charlton maintains that he becomes disillusioned and hostile toward his mother, and suspicious that Gertrude might have been in the plot to kill his father (Charlton 77)
S. Elliot in "Hamlet and His Problems," have charged that Hamlet's emotional state is not justified by his circumstances, an objective examination of the text provides evidence that says otherwise (Elliot)
Russell Leavenworth assumes that Hamlet suffers from Oedipus complex, which Freud famously described as the desire for a young boy to kill his father and become sexually involved with his mother. After his father's death, Hamlet expects to become the most important person in his mother's affections, but to his great disappointment his mother has remarried replaced Hamlet's father, whose place Hamlet is ready to take, with his uncle (Leavenworth 85)
The guards' dialogue at the very start of the play is evidence that there is indeed something rotten in the State of Denmark. According to Theo Lidz, the conversation in Act I, scene one is full of corruption, deceit, passion, ruthlessness, and ambition in degrees that Hamlet is not used to (Lidz 70)
It is not a character marked by strength of will or even of passion, but by refinement of thought and sentiment. Hamlet is as little of the hero as a man can well be" (Hazlitt)