Hamnet review: Amazing things come out of grief
‘Hamnet’ goes off-stage to show the devastating events that may have inspired Shakespeare’s famous tragedy, ‘Hamlet.’
Many things can tear a marriage apart, but the grief over losing a child can be difficult to overcome. There may be guilt or blame that builds tension in the relationship. Overwhelming pain and sadness can swallow a person whole or create a chasm of helplessness. Bereavement is such an intimate and private affair, it can be challenging to share the experience with someone else. Hamnet follows the ups and downs of the Bard’s marriage that resulted in one of his most famous plays.
Will Shakespeare’s (Paul Mescal) father expects him to follow in his footsteps, making quality leather gloves. Refusing to give up his literary aspirations, Will begrudgingly teaches Latin to a neighbour’s children. It’s during this tiresome task that he meets and falls in love with Agnes (Jessie Buckley).
There are rumours that she’s the daughter of a forest witch and neither family approves of their marriage. Nonetheless, their children arrive soon after the wedding. The eldest is Susanna (Bodhi Rae Breathnach), followed by twins, Hamnet (Jacobi Jupe) and Judith (Olivia Lynes). In spite of their growing family, Agnes encourages Will to go to London and sell his plays. But the separation weighs heavily on them and when tragedy strikes while he’s away, the damage appears irreparable.
The beginning of the film suggests this could be Shakespeare’s origin story. It shows audiences his blue-collar beginnings and natural talent for storytelling. It follows his courtship with Agnes, spotlighting a love built on passion and belief in one another. Together, they nurture whimsical, spirited children.
But when Will exits the stage for London, viewers remain behind with Agnes. She’s a formidable woman who won’t submit to anyone, including her in-laws. Yet, it’s her strength and devotion that eventually wins over her mother-in-law (Emily Watson).
The grief of losing one of their children is crushing. Heartache consumes both parents, but they choose to deal with it differently. Will buries himself in his work and Agnes retreats from the world. Buckley sincerely draws viewers into her character’s overwhelming sorrow. Once the family’s shining light, she dims to fading embers labouring to stay alive.
Agnes is convinced their failure to protect the child caused their death and she cannot forgive Will or herself. As a result, the stress of their respective heartbreak is depicted in the context of its deteriorating effect on their relationship. Remarkably, anger reignites Agnes’ fire when she learns Will’s latest tragedy is taking the stage.
Before Academy Award-winning director Chloé Zhao dipped her toe into the Marvel Cinematic Universe with the Eternals, she focused on intimate, emotional character journeys. Her indie films follow people experiencing life-changing events and relate their efforts to overcome their hardships.
This period picture feels like a return to Zhao’s roots, though not all her earlier tactics work. The filmmaker likes to linger in the moment, but those long, quiet shots don’t enhance this film. Instead, it extends the movie to a degree that tests audience’s commitment to the story. Two hours is a long time to engage in a couple’s lifecycle.
Luckily, audiences can’t take their eyes off Buckley, who impresses with her emotional acuity. The contrast in her performance is striking. She’s also buoyed by two leading men —Mescal and Joe Alwyn (who plays Agnes’ brother) — who give her the support she needs to bring viewers along with the narrative. Notably, Will regularly sits at Agnes’ feet, framed below her as he literally bolsters her performance.
The film is based on the theory that Hamlet was inspired by Shakespeare’s personal tragedy, but that is just the story’s destination. Along the way is a moving exploration of love and grief that can be beautifully fervent and irrational.
Director: Chloé Zhao
Starring: Jessie Buckley, Paul Mescal and Joe Alwyn
