Somehow, for many pundits and critics, Chloé Zhao’s adaptation of Maggie O’Farrell’s acclaimed historical fiction novel Hamnet has become something of a villain this Oscars season. It’s a bizarre take when the tragedy has so much to offer.
Portrayed with ferocity and heartbreaking nuance by Irish triple-threat Jessie Buckley, Agnes is a spiritual, earthy and misunderstood figure — one who draws the attention of Shakespeare in his youth (a moving Paul Mescal) and before his success as a playwright in London.
Primarily set in the pastoral setting of Stratford-Upon-Avon, we see how the Shakespeare clan grows in size following Agnes and Shakespeare’s wedding, with the pair welcoming three children and living an idyllic life as William's career in London begins to take off.
View Green Video on the source websiteA moving examination of grief and the power of art, Hamnet has signalled another vote of confidence in Zhao from the film industry, after the plaudits and gongs won for her much-celebrated film Nomadland. The prospect of a female and non-white Oscar-winner gaining recognition from the Academy so close to her previous wins should be welcomed – as although ceilings can be shattered, in the film industry they can always quickly grow back, leaving a long wait until the next slice of the pie.
Separately, success for Hamnet would be just recognition for one of our finest acting talents in Jessie Buckley, who continues to give emotionally true performances in a singular range of roles. It is highly likely — at least at this stage — that Buckley will take home the award for best actress, but her performance is not the sole selling point of this touching and ethereal cinematic experience.
There have been complaints about Hamnet being stereotypical "Oscar bait", but the chief issue many have had has been around claims that Zhao's film is "emotionally manipulative".
Some have argued that the film does not earn this sentimentality and outpouring of emotion – and I have had to ask them what film they have been watching. How can a film moving crowds of moviegoers to tears be manipulative, especially when using the sheer emotion evoked from Shakespeare's own work?
To be or not to be? Here, there’s no question, Hamnet is well deserving of its flowers.
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