Since its world premiere in 1891, Norwegian playwright Henrik Ibsen’s tragedy “Hedda Gabler” has been adapted for the big screen more than a dozen times in multiple languages. In the extremely queer “Hedda” (MGM/Amazon), filmmaker Nia DaCosta (2021’s “Candyman” and the forthcoming “28 Years Later: The Bone Temple”) transplants the action from Norway to England, and from the late-19th century to the mid-20th century with riveting results.
Hedda Tesman, nee Gabler, (Golden Globe nominee Tessa Thompson) and her husband George (Tom Bateman), an academic living beyond his means, host a lavish party at which a shooting occurred. Hedda, under police interrogation, says her memory’s a “bit fuzzy. It was a party, after all.” But she promises to do her best.
Among the party guests is Judge Brack (Nicholas Pinnock), who is making good on his promise to Hedda’s late father to be sure she is taken care of. Additionally, he harbors a romantic interest in Hedda. Also present is Professor Greenwood (Finbar Lynch) and his wife Tabita (Mirren Mack). George wants to make a good impression on Greenwood in the hopes of securing a job. Thea (Imogen Poots), a former classmate of Hedda’s, who was bullied by the hostess, is in attendance. Thea, who recently left her husband, is waiting for her lover Eileen (Nina Hoss) to arrive. Eileen, an ex of Hedda’s, is George’s main competition for the university job, and attends the party with the manuscript she co-wrote with Thea in her briefcase. She plans to present it to Greenwood.
The devious Hedda has her own designs on the direction the evening will take. Aware that Eileen, whose reputation for alcohol dependence precedes her, has recently gotten sober, Hedda makes it her mission to get Eileen to drink. This despite Thea’s protestations and Eileen’s steadfast resistance.
Ultimately, Hedda succeeds with her insidious scheme. Not only does she manage to get Eileen drunk, but she also gains access to the precious manuscript. Intent on destroying Eileen, Hedda’s determination knows no bounds, and she sets a shocking and irreversible series of events in violent motion.
Like the party guests, some of whom have sex in the hedge maze, snort cocaine, vomit in the fountain, and make a general mess of things, “Hedda” overstays its welcome by at least 15 minutes. However, the combination of Thompson and Hoss’ performances, as well as the dazzling costumes and setting, probably won’t have too many viewers whistling “The Party’s Over.”
Rating: B+
