The tragedy of Hamlet is, as the title suggests, a tragic tale of loss, grief and suffering. The famous quote “To be, or not to be” has many interpretations; a common one believes the titular character is contemplating his own mortality and if he should end his own life to end his suffering. Of course, Shakespeare’s play is truly a tragedy, but no story can outdo the tragedy that is life. Chloe Zhao’s Hamnet is an onslaught of devastation with slight glimmers of joy breaking through the depression barrier. Despite the darkness that these feelings often bring, this film created warmth and light through the overwhelming feeling of love in spite of the grief, togetherness in spite of the loss. Many will leave their experience of Hamnet drenched in their own tears, but many will also leave inspired to be brave, to open their hearts to others, knowing loss is a possibility, and to still love anyway.
The driving force behind the powerful emotion in Hamnet comes from Jessie Buckley’s performance as Agnes. Agnes is introduced wandering the woods with her hawk friend, both free spirits who have found companionship with each other. Connection is a key element of this film, and Agnes builds strong bonds with every character she interacts with. She is truly the heart that warms every scene, making it all the more heartbreaking to watch her suffer. I was entranced by Buckley during every monologue discussing her late mother; she had so much pain in her expression while being proud to be the daughter of the mother she was unable to grow further with. Jessie Buckley made many subtle choices in her performance, but what stuck with me the most was her guttural scream while she held her dead child in her arms; her cry still echoes in my ears whenever I think about that scene.
The beauty of the scenery made me wish that the screen was bigger so I could see the world more. Every scene felt like a painting with moving subjects, but it was the movement of the camera that really gifted the audience. The shots all had intention, whether it be a static long shot of Agnes surrounded by the woods or the dramatic view of the actor Hamlet kneeling before the sea of outstretched hands. The pair of shots that stuck with me the most focused on the twins. The first was our introduction to the children as they scurried around their bedroom looking for supplies for their mischief, the camera slowly panned across the room, which radiated with whimsy and joy. The second was the same room, the same slow pan, the same characters, but a different feeling as Hamnet finds Judith bedridden with a seemingly fatal disease. The shots were mirrored, but the reflection told such a contrasting story.
Every aspect of this film was crafted in such a wonderful way that made this film near flawless. The score (composed by Max Richter) perfectly set the tone for the story ahead. Sound may be invisible, but the music encapsulated the pictures and the emotion that came with it. The costumes (designed by Malgosia Turzanska) looked great, but Agnes’ attire in particular stood out in multiple ways. Almost every iteration of Agnes throughout is dressed in a striking red colour that stands out even more in the green environment she roams or when surrounded by a sea of pale-dressed others. Agnes was different to every other character in every way; she found a way to be her free-wheeling, fearless self in a world that commanded her to dampen her shine. There are two instances that Agnes does not adorn red clothing, on her wedding day, when she wore white and during the period after her son’s death, when she wore a faded dull colour. The white dress was beautiful and bright for the happiest day of her life. The dull dress she wore on the outside reflected the sorrow that would overcome Agnes from inside. Agnes would not dress in her signature red outfit again until she had to confront her grief in the way of watching a play her husband wrote, named after their dead child. To do this she had to find herself, find the strength to be brave in the face of grief and accept the loss. There are so many ways to tell a story in visual media, to show the stages of grief through a character’s costume is a wonderful choice.
There has been a lot of gushing over Jessie Buckley’s performance, which is justified as it will be a decade-defining piece of art, but it’s important to acknowledge the other stellar actors involved. Paul Mescal has perfected the saddest man alive archetype, which of course extends to his portrayal of William Shakespeare. Despite Mescal excelling in his role, the flowers for supporting cast should be thrown at the feet of twelve-year-old Jacobi Jupe, who played the titular Hamnet. Perhaps the most emotional moment comes when Hamnet begs for his life to be taken in return for saving his dying sister. After passing to the other side, Hamnet stands alone in a forest set begging for his parents, even wishing to his mother’s deceased hawk for help. It’s amazing to watch any actor elicit a range of genuine emotions, but for someone so young to give this performance can only bring excitement to watch their career blossom.
This film will and has already received a huge amount of acclaim but I believe the greatest accomplishment any film can have is inspiring the audience. Hamnet teaches us to not fear loss and grief but to accept it; to grieve means there was once love and that connection is so great it is worth the pain that comes with loss. The film’s unrelenting sorrow can feel punishing, yet the extreme lows are what make the final frames of Jessie Buckley finally being able to smile for the first time in years feel so cathartic. Hamnet is tragic and a force of emotion but there’s so much beauty in watching the human experience of living despite the pain.
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