Toronto film festival: The two stars are knockouts in Chloé Zhao’s poignant adaptation of Maggie O’Farrell’s 2020 novel with a stirring tearjerker ending
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aggie O’Farrell’s lauded 2020 novel Hamnet is a dense and lyrical imagining of the lives of William Shakespeare’s family, full of interior thought and lush descriptions of the physical world. It would seem, upon reading, near impossible to adapt into a film. Or, at least, a film worthy of O’Farrell’s so finely woven sensory spell. Film-maker Chloé Zhao has attempted to do so anyway, and the result is a stately, occasionally lugubrious drama whose closing minutes are among the most poignant in recent memory.
Zhao is a good fit for the material. She, too, is a close observer of nature and of the many aching, yearning people passing through it. But she has previously not made anything as traditionally tailored and refined as this. The humbler dimensions of her films The Rider and Nomadland are missed here; Hamnet too often gives off the effortful hum of prestige awards-bait.
But Zhao’s hallmark compassion and curiosity remain, qualities necessary to Hamnet, which could easily tilt into the realm of manipulative tearjerkers. Hamnet was, records tell us, Shakespeare’s son, who died at a young age and is thought to have inspired, at the very least, the title of Hamlet, the story of a young prince who meets a tragic end. What O’Farrell and now Zhao imagine is that the writing of Hamlet was an exercise in grieving, a way for Shakespeare to honor his son and bid him adieu.
