Modernisation, especially in the media, is a skill. Adapting a play, novel, or film by adding modern themes or elements requires more effort than simply inserting them and hoping for the best. Mean Girls and Freakier Friday exemplify this challenge: both rework inherently ’90s material for a contemporary audience, yet they feel as though they were written by people unfamiliar with what it means to be a teenager in the 2020s. Hedda, Nia DaCosta’s reimagining of Hedda Gabler, updates the story with contemporary themes such as queer romance, gender, and race. However, despite featuring a character as complex as Hedda, the film lacks any discernible characteristics of DaCosta’s directorial voice.
Could you tell us the events of the evening up to the incident? The film opens with Hedda Tesman (Tessa Thompson) being questioned by the police after an incident at a party she hosted. She and her husband, George (Tom Bateman), have recently moved into a new house they can barely afford, unless George secures a professorship at the university. To aid his chances, Hedda throws a party and invites his superior, Professor Greenwood (Finbar Lynch). Everything seems to be going according to plan until academic Eileen Lovborg (Nina Hoss) arrives, also vying for the professorship and, notably, Hedda’s former lover.
The beauty of the manor is front and centre in the film, and the manor could be viewed as a character. When Hedda emerges from the water and moves through the house, viewers are immersed in the stunning 20th-century décor, evocative of the grandeur seen in Downton Abbey. The film perfectly captures this aesthetic, which, while distinctly of its time, carries a timeless elegance. This elegance extends into the costumes, as every outfit – from suits to dresses- is exquisite and brings life to the film.
Hedda is deeply character-driven, and Tessa Thompson delivers a feisty performance as Hedda Tesman. A woman who is, in theory, living the ideal life: married, living in a beautiful house, but is quietly suffocated by the monotony. Known for her fiery personality, Hedda is no longer the woman she was in the past with Eileen. Hedda longs for a life she can no longer have, as Eileen has seemingly moved on. Nina Hoss is equally compelling as Eileen, portraying a character who shifts from cool and composed to spiralling out of control as Hedda’s game of manipulation begins to unravel her.
The supporting cast is equally charismatic. Imogen Poots shines as Thea Clifton, Eileen’s current writing partner and lover. Tom Bateman is commendable as George, a man who loves Hedda despite her manipulations and wants to assist Eileen when her novel goes missing. While his role is brief, Mark Oosterveen is a delight; the film offers a satisfying full-circle moment for the actor, given his appearance in last year’s Grand Theft Hamlet.
What holds the film back, I feel, is the absence of a truly distinctive style. While it isn’t poorly directed, Nia DaCosta doesn’t bring a voice that feels uniquely her own. The most striking moment is a double dolly shot as Hedda approaches Eileen at the party; it’s a standout shot, yet it feels more like an homage to Spike Lee than an original choice. Due to the lack of stylistic identity, I found it difficult to fully engage with the narrative, as it is presented in the flattest possible way.
Hedda suffers from poor pacing and feels overly long, despite its duration of just under 1 hour and 50 minutes. It is bizarre that the film has a pacing issue, as the film has all the ingredients for an enticing narrative. Its queer romance is compelling, and the fact that Hedda and George are a mixed-race couple in the mid-20th century offers rich potential for drama and tension. I feel the film needed more time in the kitchen.
Hedda had the potential to be a great film, but ultimately, it is a solid modernisation of Hedda Gabler. With strong performances, stunning set design, and exquisite costumes, it offers plenty to admire but is held back by uneven pacing and a lack of distinctive style. Still, it’s an enjoyable and worthwhile watch.
★★★ 1/2
In Cinemas from October 24th and on Amazon Prime on October 29th / Tessa Thompson, Nina Hoss, Tom Bateman, Imogen Poots, Mark Oosterveen/ Dir: Nia DaCosta / Amazon MGM Studios / 15
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