Hedda: Hell hath no fury like a woman bored
Hedda Gabler was an instant hit when it premiered in 1891. Henrik Ibsen’s character is considered one of the greatest roles in theatre, and innovative for her outrageous complexity at a time when female characters weren’t usually afforded that much depth. Hedda is charming, hedonistic, clever, jealous, and a master at wreaking havoc. ‘Why are you like this?’, asks the level-headed Thea (Imogen Poots). That’s the big question: why does Hedda do what she does?
This reimagining comes from Nia DaCosta, the director behind Candyman (2021) and The Marvels (2023), who writes and directs. Rejuvenating a much-adapted classic, DaCosta adds some new details: Hedda (Tessa Thompson) is black and queer, and the illegitimate child of a general; the setting is moved to 1950s England; Eilert is a woman (Nina Hoss’s Eileen); and DaCosta rejigs parts of the plot just enough to keep it thrillingly unpredictable.
The film begins with Hedda recounting the previous night’s events as the police investigate a grisly crime that happened at her home. Over the course of this night, she is struck with moments of whimsy (or genius?) as she blitzes through the party. Beautiful, spoiled and swathed in mystery, Hedda holds a power over all who know her – the sort ‘intelligent women wield when they’re catastrophically bored’. It’s a blast to see her interact with other characters, just to see what kind of sparks will fly.
If this is your first encounter with Ibsen’s play, don’t worry – it’s a bold and rich adaptation that gives you the full Hedda Gabler experience. In fact, as different as they are, I think DaCosta achieves something similar to Guillermo del Toro with his recent Frankenstein adaptation: despite significant changes, the film manages to remain faithful to its source material in all the most gratifying ways. Through reinvention, its wild heart is given new life.
Written by Jodie Passey
See the fantastic Hedda from 25th to 27th November.
