Tessa Thompson delights as a manipulative woman trying to escape from boredom.
There are few differences to Nia DaCosta’s vision of “Hedda Gabler.” The original Norwegian play was staged in 1891 in Munich, while “Hedda” now takes place in 1950s England. That means we can have black characters and gay romances in the mix, as they’re both caught in the mix of the title character who is as beautiful as she is manipulative and bored. She’s a woman who needs some action in her life, even when she causes problems for others.
I haven’t seen the play or any other version of the story, so I wouldn’t know what I was getting myself into. It took a while for me to process things, but it does makes sense and DaCosta honors the character and has Tessa Thompson giving a charismatically delightful performance as Hedda. I met her awhile back at a screening of “Passing,” and I’ve always thought she’s a fine actress capable of adapting to most roles (Sorry, but she can’t top the original Men in Black).
The movie shows Hedda and her husband George (Tom Bateman) hosting a party at their estate (this is when I’m thinking “Downton Abbey”) in an attempt to help get him the money-making career that could solve their financial problems. Their guests include her former lover Eileen (Nina Hoss, who played Hedda on the German stage before), and her new friend Thea (Imogen Poots), George’s superior Professor Greenwood (Finbar Lynch), and his wife (Mirren Mack). Thea was the one who saved Eileen from alcoholism, and Hedda likes the old Eileen, so she tries to revert her back to her state. And there’s also the family friend Judge Black (Nicholas Pinnock), who tries to have his way with Hedda, when her husband isn’t around.
The costumes are superb, allowing Thompson to change them throughout the night. I’m not a suit and tuxedo guy, but I know exceptional attire when I see them. And everyone and everything is beautifully photographed by Sean Bobbitt, who has collaborated with the director before. There’s plenty of light at the party, and enough for us to find a few jokes every now and then. One of them comes in the form of guest star Kathryn Hunter as one of the staff members of the house. And I admire some of the water shots at the beginning and end, because of their haunting appearances.
DaCosta’s screenplay loses its touch when it comes to the complications of Hedda’s cunning (and even I can’t always acknowledge them), but it does understand her and the people around her. And Thompson, Hoss, and Poots are all excellent with their voices, emotions, and patience.
There have been many actresses to portray Hedda Gabler before like Ingrid Bergman, Diana Rigg, Cate Blanchett, and Janet Suzman, whether we’re talking about plays, shows, or movies. And Thompson joins the list without being self-congratulatory and all. She has the face, acting abilities, and costumes to convince us of her character’s nature.
And if DaCosta wants to move the Norwegian play from 1890 to England 1950s, then she can do whatever she wants, and she can express the right themes in certain periods. “Hedda” has its flaws, but it’s still a worthy addition to her filmography. Thompson and the director have collaborated before in “Little Woods” and even a cameo in “The Marvels” (which I didn’t care for), so they’re no strangers to each other. I wonder what they’ll both do next after “Hedda.”
Now In Select Theaters
Streaming on Amazon Prime Video October 29