The only thing I knew about Hamnet before I went to see it was that a child named Hamnet dies in it, and that it is based on the life of William Shakespeare via the book called Hamnet by Maggie O’Farrell. A couple of weeks before I went to see it, Jessie Buckley started scooping every seasonal film award going for her role in it, which piqued my interest.
Buckley plays Agnes, which is the name Anne Hathaway goes by in the film. Paul Mescal plays Shakespeare. I am surprised Mescal has not won any awards for his portrayal (yet) because his Shakespeare, with his stuttering writer’s block moments, his pensive contemplation, his vulnerability, and more, is a delight to watch.
I did not expect to be punched in the stomach so hard, so repeatedly, with so much force! I did not expect something so beautiful, so wow, so oh my god. So clever, so pleasing on so many levels, so all coming together so heart-meltingly in the end.
It begins slowly and unfolds steadily. The forest landscape is painted with care, and the misty rolling fields set the right tone. The hawk and the glove motifs might feel cliched to start with, but, but they make sense later on.
What we get in Hamnet is a Hamlet backstory, as imagined by Maggie O’Farrell and presented perfectly on screen by everybody involved.
A tearjerker, an emotional rollercoaster, a feast for the eyes, Jessie Buckley is gorgeous in it, Paul Mescal is ever so good, the Hamnet actor Jacobi Jupe is pulling at the heartstrings with all the ruthlessness an innocent child can convey.
When the final section of the film begins, with Hamlet on stage at the Globe, or is it the Rose, and suddenly it all comes together, and it takes your breath away, well, my breath away anyway, and it’s one of those brief intense moments when we feel alive, when it’s all worth it, when the spoken word reaches out to us through the centuries, all the way to the Everyman sofa in Crystal Palace, when to be or not to be loses its tired overuse, and I feel like joining Agnes when she physically reaches out and touches the hand of Hamlet on stage.
The theme of Shakespeare’s play on stage within a film about Shakespeare has been done before, probably most famously in recent years in Shakespeare in Love, possibly the only time Gwyneth Paltrow fully delivered the goods. Now Shakespeare in Love has a serious competition in Hamnet.
Shakespeare the dad comes painfully alive and everything in the Danish Play suddenly fits the film’s idea of how it came to be. It is of course only an idea, a version of Shakespeare’s creative universe which in all probability was not true, but it fits, it fits! Which is why I left the cinema believing that it could have been conceived and written the way I had just watched, as an expression of father’s grief and the way of saying goodbye to his son, something he could not do in person, as he had arrived home too late.
I tried to upload a close-up from the film, but my WordPress editing tool told me I was not allowed to, probably something to do with copyright policing. So I am uploading a couple of photos showing the comfort and the luxury of Everyman, Crystal Palace.

































