Hamnet is a historical drama inspired by a book of the same title written by Maggie O’Farrell who also ended up writing the screenplay together with director Chloé Zhao. It explores the tragic events which took place in the life of William Shakespeare and his wife Agnes Hathaway that led to him writing one of the world’s most refined tragic plays: Hamlet.
The film imagines how the pair traverses through the sea of grief after the death of their beloved son Hamnet. It depicts a realistic and raw image of earth-shattering moments that take place in the idyllic world built by verdant and flourishing scenery.
To me the movie felt rushed at first as they tried to fit the beginnings of romance between William and Agnes into a short stretch of time, but it was entirely worth it since it gave the rest of the film the time to truly captivate the audience and allow them to wallow in the devastating moments along with the characters.
I also wish that the movie would have spent more time conveying the importance of Shakespeare to Hamnet and the other way around whilst he was still alive so we could better suffer the betrayal with Agnes. Nonetheless, we could feel the love devoted to Hamnet by Shakespeare and his non-negligible importance by the end of the movie.
The film gives us greater factual and emotional insight into not only the life of Shakespeare and his family but the disheartening story behind the already tragic play of Hamlet. It shines an unexpected perspective onto the life of one of the world’s most well- known tragedies and offers an alternative way of looking at some of his work. Additionally, it may inspire us to enquire into the lives and stories of other great creators who we only perceive as disconnected masters of their craft enveloped by their minds and ideas.
I would sincerely recommend this movie to not just enjoyers of a sappy film, which it gracefully avoids being one, but from anyone who fancies the tragedy Hamlet to enthusiasts of history and to those who relish in dramatic and raw films.
Anais Horvat Baum, 2. C
Lavish in imagery, the film initially astonishes the viewer with the depictions of green – the canopies, the moist undergrowth, ferns and wild flowers. This is the realm of Agnes, who later becomes William Shakespeare’s wife. Almost unwordly Agnes and a more practical William succeed in bringing up their children, Susannah and the twins, Judith and Hamnet, in harmony and joy that may not seem typical of that time. Tragically, while Agnes sees Judith as the most fragile of the siblings, it is Hamnet who perishes. The film suggests the possibility that one of the most refined, profound and universal tragedies, The Tragedy of Hamlet, prince of Denmark, emerged from William Shakespeare’s grief at the death of his son.
The film is a screen adaptation of the novel by Maggie O’Farrell. The director, Chloé Zhao, navigates the narration in a sublime manner, guiding the audience without ever imposing a certain emotion on them. The scenes of extreme sorrow, pain, and suffering, are ended before they could become overly sentimental and/or overstated.
The events, thoughts, and beliefs of the era are presented realistically, they are primal, unembellished, and can therefore be found disturbing by more delicate students. The choice is undoubtedly yours. Still – this is life: it gives in abundance, but when it takes, it takes impetuously and painfully.
Both the interior and exterior scenes are simply captivating: the viewer’s vision is framed by the doors, the windows, the walls and the fireplaces, by most astonishing Tudor houses.
The critics argue that the scene where William, standing on the bank of the Thames, recites the famous soliloquy »To be, or not to be…« is »a bit over-egged«. I must say I found it appropriate: this is a monologue about suicide, and what could prevent one from committing it – the fear the troubles awaiting one after death could be unbearable. In the time of great despair, William asks: »Where is he?«, referring to his deceased son. There is – in my opinion – an unprecedented parallel drawn between the young Hamnet in the passing intermediate state, all alone and helpless, and the Ghost in the tragedy (the late King Hamlet) who tells his son Hamlet he cannot leave his »prison house«. During the last scene, Agnes holds the hand of dying Hamlet (the actor), while William observes them through tears, albeit seemingly with a sigh of relief. Young Hamnet exits the stage, finally at peace. It is intense, poignant, and unforgettable.
The acting is compelling. While watching the Shakespeare family, one is convinced they are not acting, they simply are these people – they are so natural. Jessie Buckley (Agnes) in particular is superb, transforming her own sorrow and her acceptance of loss into an emotion that can be felt by each and every one of us.
When I was inviting the students to come to the cinema to see Hamnet, I addressed all “lovers of the English language, of William Shakespeare, his works and Elizabethan theatre”. I still believe these are the ones that can appreciate this film to the fullest.
Aleksandra Pal
