Hamnet: Grief, Theatre and the Weight of Silence

Hamnet | Currently in cinemas

Hamnet is slow, still, raw and full of heart. Buckley leads with deep honesty. Zhao’s film opens space for grief and wonder. Ultimately, it is about the redemptive power of the theatre and a connected communal experience.

This is because, as the film states at the beginning, Hamnet and Hamlet are interchangeable. We don’t know much about William Shakespeare, but we do know that he had a son called Hamnet who died at the age of 11, assumedly from the plague. We also know that Hamlet premiered two years later. From these details, this fiction has been created.

We are drip-fed quotes from Hamlet, such as “the undiscovered country”, as well as the rather on-the-nose moment when Shakespeare recites “to be or not to be” while contemplating throwing himself into the Thames. The film also depicts him starting to write Romeo and Juliet many years before he actually did.

There are some anachronisms. I don’t think they said “okay” in that period. However, it does recreate life at that time and gives the audience a true feeling of how things were. The focus is firmly on Agnes Hathaway, a creature of the woods raising children while her husband is away in London pursuing a career as a playwright and actor, after being an unsuccessful glove maker.

She believes that she’s a witch, that she can see things, and she’s convinced that on her death bed there will be two children. When she’s told she has twins, it twists and turns from there.

It culminates in the first performance of Hamlet at the Globe, which is beautifully done. Shakespeare plays the ghost of Hamlet’s father, and it is here that we see some kind of catharsis for Agnes to help her out of her grief.

It must be said that it is very, very slow and may test the patience of some. It only really comes into its own in the last few moments when we are at the Globe. It is also quite unashamedly manipulative, with the use of the brilliant but much overused On the Nature of Daylight by Max Richter, a piece that has been used in multiple films and TV shows and really should be retired.

A film such as this lives and dies by its performances. Jessie Buckley is remarkable as Agnes Shakespeare. She holds every scene with an honest intensity that never feels forced, and her expression of grief and the agonies of childbirth are incredibly moving. Hers is a performance deserving of the awards she has received so far and hopefully will receive in the future.

Paul Mescal plays William Shakespeare as a man with a restless inner life, a poet pulled between creation and collapse. Their connection feels like a tidal pull, grounding every scene with emotional force.

Jacobi Jupe is a young actor playing Hamnet before tragedy strikes and is tender and bright. Later, Hamlet is played by his brother, Noah Jupe, which is a smart echo that sits deep in the film’s bones.

Quiet, heartfelt and unafraid of its own pace, although overtly manipulative, Jessie Buckley and Paul Mescal give powerful performances, and director Chloé Zhao crafts a world that breathes with stillness and depth. The film asks you to sit with grief, which may test the patience of some, but is redeemed by its powerful final scenes.

For more thoughtful film reviews, theatre criticism and arts coverage from across London and beyond, follow EyeOnLondon and join the conversation.

Follow us on:

Subscribe to our YouTube channel for the latest videos and updates!

We value your thoughts! Share your feedback and help us make EyeOnLondon even better!