FILM REVIEW
Intro: This film adaptation is based on Maggie O’Farrell’s deeply moving historical novel that reimagines the life of William Shakespeare’s family, specifically focusing on the death of his only son, Hamnet, and how that tragedy may have influenced his most famous play, Hamlet
In 1596, William Shakespeare’s only son, Hamnet, died at the age of 11. Sometime between three and five years later, Shakespeare wrote a play which almost shared the boy’s name, and which has since become one of the most lauded dramatic works in existence. The possible link between these two events was the subject of an acclaimed 2020 novel by Maggie O’Farrell.
Now comes this quietly astonishing screen adaptation – with a script sensitively adapted by O’Farrell and the film’s director, Chloe Zhao – and with Jessie Buckley as Shakespeare’s wife, Anne Hathaway, and Paul Mescal as Shakespeare.
As in the book, Hathaway is here called Agnes, the name she was given in her father’s will. Her husband, meanwhile, is no famous playwright yet – his name is not mentioned for more than an hour – but the educated son of a Stratford glovemaker keeps pootling off to a London theatre for work. Agnes, meanwhile, remains with their three children – daughter Susanna and twins, Judith and Hamnet – close to the ancient woodland with which she shares a deep and strange bond.
We see in this play that Zhao has swapped the Terrence Malick-like lyricism of Nomadland and The Rider for a less insistent style that allows the story’s emotions to naturally drift to the fore. These emotions are often tough – Agnes’s life, alongside her mother-in-law (a superb Emily Watson), can be hard, even before the plaque comes that will claim the life of one of her children. But there are also constant flashes of everyday wonder and joy, many of which we’re invited to imagine might have inspired elements in Shakespeare’s future work. (The twins often disguise themselves as one another for a game: very Twelfth Night.)
The slow start to this production is groundwork, and the sober visual approach puts a greater burden and expectation on Zhao’s leads, but they don’t so much rise to the challenge as spiral above it. Mescal has never been better, while as Agnes, Buckley seems to discover her character before your eyes: every moment she plays rings transparently true.
This is a category of film that is described as devastating, heartbreaking, even hard to watch – and at times it is certainly all of these things. But, without any doubt, it isn’t a downer, thanks in no small part to the sublime final reel.
Here, Agnes makes the journey to her husband’s playhouse in London – only for her grief to be both complicated and clarified by this play he has written called Hamlet, and is now staging with acutely moving variations on the same two-humans-swap-places trick that the couple’s children once adored.
One of these springs from the casting: the actor appearing as the young Danish prince is played by Noah Jupe – the real-life older brother of the child actor, Jacobi Jupe, who portrayed Hamnet in the earlier scenes.
The play’s speeches are raw and revelatory, despite being among the most worn in the English tongue: that sense of freshness is one of the film’s wildest achievements. What Hamnet leaves you with isn’t sadness, but joy – at the human capacity to reckon with death’s implacability through art, or love, or just the basic act of carrying-on in its defiance. It blows you back on to the street on a gust of pure exhilaration.
Hamnet U cert, 125 min
Verdict: An exceptionally delivered adaptation ★★★★★
Arts, reviews & current affairs 