‘The joys of parents are secret, and so are their griefs and fears …” This is Francis Bacon’s essay Of Parents and Children; maybe they were more secret in his day than ours. This kind of secrecy and revelation is part of Chloé Zhao’s deeply felt romantic fantasy about the origin of William Shakespeare’s tragedy Hamlet. It locates the play’s beginning in the imagined anguish of Shakespeare and his wife Agnes (or Anne) Hathaway at the death of their son Hamnet at the age of 11 in 1596, a few years before the play’s first performance.
The nearness of the names is not supposed to be some monumental Freudian slip; there is linguistic evidence that the two could be used interchangeably. The movie is inspired by Maggie O’Farrell’s 2020 novel of the same name – Zhao co-wrote the screenplay with O’Farrell – as well as the 2004 essay The Death of Hamnet and the Making of Hamlet by literary scholar Stephen Greenblatt. This film succeeds, not because it solves the mystery, but because it deepens it still further. It is contrived and speculative, but ingenious and impassioned at the same time.
