The Paw Print

By Elena Whitford, Features Editor

You would be forgiven for thinking Chloé Zhao’s new movie is a Shakespeare biopic. After all, the first few scenes follow the young playwright, currently working as a Latin tutor, as he meets his future wife and obsesses over lines that will later appear in “Romeo and Juliet.” 

But as the film progresses, the viewer comes to realize “Hamnet” is not just the story of a life, but a meditation on grief and art. William Shakespeare is just the vessel through which that universal story is told.

Based on Maggie O’Farrell’s 2020 novel of the same name, “Hamnet” follows Will and his wife, Agnes, as they marry, have three children and experience a tragic loss. From that grief comes artistic inspiration for arguably Shakespeare’s most famous play, “Hamlet.” In fact, a quotation at the beginning of the film states that “Hamnet” and “Hamlet” were interchangeable names in the late 16th century.

All of this culminates in a final scene that is difficult to describe, but unforgettably beautiful. I would consider myself a regular theatergoer, yet I found myself overwhelmed by the way Shakespeare’s audience is brought into the story at the end. So much of the success of theater comes from the reaction of the audience; as we see in this scene, it can mean the difference between a passing moment of remembrance and a centuries-long legacy.

The film is anchored by strong performances across the board. Jessie Buckley stuns as Agnes, her expressions moving from subtle to heartbreakingly intense in an instant. (While Shakespeare’s historical wife is more commonly known as Anne Hathaway, her father’s will names her as Agnes, the name used here.)

Paul Mescal, in his performance as Will, continues his winning streak of playing emotionally broken men. Zhao’s choice to sideline Shakespeare himself, which stems from the original novel, is a good one, as it both amplifies the emotional nature of the film and allows Mescal to truly shine in the moments he does have on screen.

The child actors are also incredible, with Jacobi Jupe as the titular son giving one of the best, and most tragic, performances in the film. The bond between Hamnet and his twin sister, Judith, is carefully established and culminates at what is hands-down the most emotionally draining scene I have seen in a movie theater. 

The cinematography and set design make for a visually stunning experience as well. Zhao creates an alluring stage, both literally and figuratively. For much of the film, we are in Stratford, and shots of the forests surrounding the village overwhelm the viewer with their greenery. When the actual Globe Theater appears near the end, it appears to be a simple wooden construction rather than the currently operating version in London, which is much more ornate. 

This mirrors Zhao’s broader approach to much of the film: let the emotions speak for themselves. Some might dismiss the overwhelming tragedy of the story as “Oscar bait,” but I found it just right when employed tastefully and subtly in this way. If it does win Oscars, they will be well-deserved ones.

Ultimately, “Hamnet” may not have much of a plot, but it has something better: revelations about the creation of art, all wrapped up in a film that takes to heart the notion of “every frame a painting.” Make sure to bring tissues.

Rating: Five stars