Sir Ian McKellen Critiques ‘Hamnet’: A Shakespearean Tale He Finds ‘Improbable’

Ben Thompson, Culture Editor
4 Min Read
⏱️ 3 min read

In a bold critique ahead of the Oscars, legendary British actor Sir Ian McKellen has expressed his reservations about the film *Hamnet*, a poignant drama centred on the life and loss of William Shakespeare’s young son. Although the film has garnered significant acclaim and numerous nominations, including Best Picture, McKellen remains sceptical, questioning the authenticity of its narrative.

McKellen’s Take on Shakespearean Fiction

McKellen, a stalwart of the stage and screen, is no stranger to Shakespeare’s works, having portrayed iconic characters like Hamlet, Macbeth, and King Lear throughout his illustrious career. However, in a recent interview, he candidly shared his thoughts on *Hamnet*, which draws inspiration from Maggie O’Farrell’s bestselling novel about the Bard’s 11-year-old son, who tragically passed away in the 1500s. The film suggests that this profound loss may have influenced Shakespeare’s writing of *Hamlet*.

“I don’t quite get it,” McKellen remarked, as he articulated his disinterest in speculating on the origins of Shakespeare’s creative genius. He expressed doubts that such inspiration could stem solely from familial experiences. Instead, he finds the film’s premise—particularly the portrayal of Shakespeare’s wife, Anne Hathaway, as naive about her husband’s theatrical profession—”improbable.”

Awards Buzz and Box Office Success

Despite McKellen’s criticisms, *Hamnet* is poised to make a significant impact during the upcoming Academy Awards, scheduled for March 15, 2026. The film has received eight nominations, including Best Director for Chloé Zhao and Best Adapted Screenplay for Zhao and O’Farrell. McKellen predicts that *Hamnet* will likely mirror the success of *Shakespeare in Love*, which also took home several Oscars, albeit for its unconventional take on Shakespeare’s life.

Awards Buzz and Box Office Success

The film’s commercial success further bolsters its Oscars aspirations, having grossed an impressive $74 million (£54.3 million) against a budget of $35 million (£25.6 million). As awards season heats up, *Hamnet* continues to attract audiences and accolades alike.

Critical Reception and Public Interest

While McKellen’s views may resonate with some purists, the public’s fascination with Shakespeare remains unwavering. The mystery surrounding the playwright’s life, his family dynamics, and his creative process continues to spark interest. McKellen acknowledged this allure, stating, “Shakespeare’s perhaps the most famous person who ever lived, so of course there is some interest in what he looked like, what his relationship with his family was.”

However, he remains critical of the film’s artistic liberties. He finds it hard to believe that Hathaway would have been entirely unaware of the theatrical world, questioning the plausibility of a woman married to a playwright being unfamiliar with the concept of a play.

The Competition

*Hamnet* will face stiff competition at the Oscars, including films like Paul Thomas Anderson’s *One Battle After Another* and Ryan Coogler’s *Sinners*. Nevertheless, Jessie Buckley, who stars as Anne Hathaway, is a frontrunner for Best Actress, which could signal a recognition of her compelling performance amidst the film’s narrative debates.

The Competition

Why it Matters

Sir Ian McKellen’s critique of *Hamnet* shines a spotlight on the broader conversation surrounding artistic interpretation and historical accuracy in film. As audiences increasingly seek authenticity in storytelling, particularly in adaptations of revered literary figures like Shakespeare, McKellen’s insights invite viewers to reflect on the line between creative liberty and factual representation. His comments highlight the ongoing dialogue about how we portray our cultural icons—one that will undoubtedly continue to shape the landscape of cinema and literature.

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Ben Thompson is a cultural commentator and arts journalist who has written extensively on film, television, music, and the creative industries. With a background in film studies from Bristol University, he spent five years as a culture writer at The Guardian before joining The Update Desk. He hosts a popular podcast exploring the intersection of art and society.
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