We can never truly know what inspired William Shakespeare to create his legendary works that went on to impact global culture throughout centuries and continues to resonate through modern storytelling. They could have been the result of an active imagination or partially gleaned from real life experiences – hard to say.
They didn’t hold press junkets during the late 1500s and early 1600s for journalists to delve into his thought process, so we can only venture a guess. Which is what author Maggie O’Farrell with her 2020 novel Hamnet. It has now been adapted for the big screen into a beautifully realised speculation on the Bard’s inspiration for his historic play Hamlet.
In rural England during the late 1600s, literary-leaning tutor William Shakespeare (Paul Mescal) spots, and is immediately drawn to, social outcast Agnes Hathaway (Jessie Buckley). Agnes is a nature loving healer believed to be the daughter of a witch and outcast by society for her stranger ways. The two strike up a relationship and despite their union being forbidden by both their families, they make a family of their own, with Susanna and then twins Hamnet and Judith. Agnes stays home to raise their children, while William pursues his passion for writing in London. But tragedy strikes the family and during a time of intense grief, William returns to London to work, which acts as another devastating blow to Agnes as their reactions are not aligned when she needs him the most.
Hamnet takes us on a full emotional journey of love, joy, devastation and, importantly, healing – a jumbo-sized box of tissues may be required for this one. It takes its time delicately building the love story, dynamics, relationships and emotional stakes of this family so that when it hits us with devastation, it lands with sledgehammer force.
Ultimately, Hamnet is about how people deal with grief in different ways and how those coping mechanisms may seem foreign and illogical, but they are no less valid. One of those ways could be through the creation of art and expression of creativity, which can be powerful tools in helping us deal with our emotions and feelings, even those that are particularly complex and devastating as grieve. It also posits that beautiful, universal and timeless art can be borne out of tragedy and grief.
The message and themes are incredibly moving and relevant but it is the delivery that is not always surehanded, which is surprising coming from Chloé Zhao, whose masterful Nomadland captures time and space so precisely and eloquently. Zhao often locks down her camera throughout Hamnet with medium-sized shots to observe emotional scenes play out almost like a theatre – perhaps a nod to a pivotal scene that comes later – but it leaves us at an arm’s length at times to what the characters are experiencing.
The finale is nevertheless emotionally and dramatically cathartic, despite some awkward staging, particularly for Buckley’s character who is left to spend an extended sequence just standing around, emoting. Though if there is anyone you are going to get to stand still and react, it is Buckley – who is deservedly snapping awards for her portrayal.
7.5 out of 10
