Acting’s Quiet Power & The Overwrought Grief of ‘Hamnet’ and ‘Giant’
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A prevailing sentiment among seasoned performers is that the most impactful moments in film often lie not in grand displays of emotion, but in the subtle art of restraint. Michael Caine articulated this idea, observing that witnessing an actor suppress an emotion is far more moving than seeing it overtly expressed, mirroring the reality of how most people navigate daily life. This principle, however, feels conspicuously absent in recent cinematic offerings like “Hamnet” and “Giant,” both of which prioritize performative anguish over nuanced storytelling.
Jessie Buckley’s Tempestuous ‘Hamnet’
Chloé Zhao’s adaptation of Maggie O’Farrell’s 2020 novel, “Hamnet,” centers on the death of William Shakespeare’s son, years before the creation of “Hamlet.” The film stars Jessie Buckley as Agnes, a farmer’s daughter with a mystical connection to nature. Buckley’s performance is described as unrestrained, with the actress delivering a series of emotionally explosive scenes, particularly during the film’s depictions of childbirth and loss. According to reviews, Buckley “opens her lungs and howls to the very heavens,” embodying a raw, elemental force.
However, this intensity raises a critical question: does the sheer volume of emotion leave any space for the audience to connect? Early previews reportedly labeled “Hamnet” a tearjerker, yet many viewers found themselves “stony-faced,” suggesting the performance overwhelms rather than resonates. The film’s narrative also appears to prioritize Agnes’s experience, seemingly sidelining Shakespeare himself, portrayed by Paul Mescal as a surprisingly meek and uncharismatic figure. One character questions, “Why marry a pasty-faced scholar?” highlighting the disconnect between the expected persona of the Bard and Mescal’s portrayal. The script even implies Shakespeare barely wrote “Hamlet,” further shifting focus away from the playwright and onto Agnes.
The film’s approach, while intending to center the often-overlooked wives and daughters of historical figures, risks becoming “as solipsistic as Hamlet himself famously is.” Emily Watson’s presence is noted as serving primarily to provide a platform for Buckley’s performance, echoing her role in “Breaking the Waves.” The critique suggests that while Buckley is “extraordinary,” her power isn’t harnessed in service of a larger narrative purpose, resulting in what one observer calls “one giant acting flex.” “Hamnet” receives a rating of ★★☆☆☆ and runs for 126 minutes.
‘Giant’s’ One-Sided Story of Naseem Hamed
Rowan Athale’s biopic, “Giant,” chronicles the career of British boxer Prince Naseem Hamed. The film opens with Hamed’s 1997 US debut, flashing back to his early life in the 1980s. The narrative centers on the relationship between Hamed (Amir El-Masry) and his trainer, Brendan Ingle (Pierce Brosnan), portraying Ingle as the true “giant” of the story – a steadfast father figure.
However, the film is criticized for presenting a heavily biased perspective. The story is described as “one-sided,” framing Hamed as an abrasive, arrogant boxer and Ingle as his devoted, mistreated trainer. While El-Masry excels at portraying Hamed’s boxing style, the script offers little nuance, with “every blow telegraphed mightily in advance.” The film’s structure feels predictable, and the potential for a more complex exploration of Hamed’s character is lost. “Giant” receives a rating of ★★☆☆☆ and runs for 110 minutes.
Both “Hamnet” and “Giant” demonstrate the potential pitfalls of prioritizing performance over substance. While powerful acting can undoubtedly elevate a film, it must be grounded in a compelling narrative and allow space for audience engagement. As Caine suggests, sometimes the most profound moments are found not in what is said or done, but in what remains unspoken.
