I would consider Maggie O’Farrell’s Hamnet one of my favourite pieces of literature. Not only is it moving, well-written and utterly timeless, but also it’s change in perspective and narrative style is something really… well, refreshing.
As a previous English Literature Student, it is no shock that Shakespeare has been a constant present in my life. And don’t get me wrong – what a guy.
From Macbeth’s murderous ambition, to Romeo and Juliet’s all-consuming love, to a donkey named Bottom… I have to admit that the man’s got range and talent.
However, this retelling shifts the focus to the life away from the stage and onto the the lives behind it. This tells the story of those who made Shakespeare the ‘household name’ that it is today, it is an approach that feel like something truly original.
So often, stories are overshadowed, forgotten, or lost behind a central figure, and this is something that is arguably very true for Shakespeare.
I mean, before Hamnet… I knew all about his craft, his history and his enormous space in English Literature, but beyond that, I think the only personal detail that I knew was that his wife shared her named with a really great actress: Anne Hathaway.
What O’Farrell does so beautifully is shift the importance, and in turn what it is that the reader is invited to consume from her writing. In removing his public life’s successes, wins, and even his name, she allows the rest of his family to step into the light and be seen and heard. And Agnes’ (not Anne’s) story – as well as her children and family who have been left at home – is so beautiful, so powerful, and entirely worthy of being told in it’s own right.
I mean, isn’t there a saying that goes, “Behind all great men, is a great woman.”?
So, when I saw that a film adaptation of the novel was in the works, I instantly booked my ticket. Not only was I excited to see how the story would translate from page to screen, but (possibly) better than that, PAUL MESCAL was involved.
Sold.
I have to agree with the reviews – this was a stunning adaptation.
Whether it is the shared Irish roots of the two leading players or simply the exceptional casting, the acting was absolutely top-notch. Jessie Buckley, in particular, should be applauded for her delivery of the most authentic, convincing and beautifully realised portrayal of Agnes I could have imagined.
Her raw emotion and deeply considered characterisation captures Agnes’ essence perfectly, showcasing the strength that women – and especially mothers – have always carried throughout history.
I honestly felt and connected with her performance. I believed the story she was telling – and I do not believe that I can give higher praise than that.
Paul was equally incredible himself, in the way that he captured the audience through his articulate delivery of Shakespeare’s words and his subtle yet distinctive creative flair.
The set design, the wardrobe/costumes, and the soundtrack all added a richness to the film’s progression of the plot evoked Georgian England very well, bringing the past vividly to life.
I would recommend both the book and film to anyone who enjoys historical fiction, Shakespeare, and emotional resonant literature – and additionally would extend my recommendation to O’Farrell’s wider body of work, too. Another personal favourite of mine is The Marriage Portrait which, again, revisits a well-known historic story through the (once again) forgotten voice of the woman…
For now, though, I will be patiently waiting for Maggie O’Farrell’s next novel, Land, coming out in June…
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