Foy is strong in this undemanding tale of nature and grief
Like many stories about how an animal changes a grieving character’s life, even as recently as last year’s The Friend, H is for Hawk pointedly hits the expected emotional beats. Unlike these stories, however, H is for Hawk lacks the playful human and animal opposition-turned-camaraderie dynamic that pushes similar narratives forward. A solid but slightly exoteric drama with beautiful photography and strong performances, H is for Hawk still struggles to lift off from its slow pacing.
Directed by Philippa Lowthorpe (tv series The Third Day; Willow; The Crown), H is for Hawk is based on Helen Macdonald’s bestselling 2014 memoir. Set in 2007 at the University of Cambridge, the story begins with Helen (Claire Foy) suddenly losing their father, Alisdair (Brendan Gleeson) to a heart attack. Helen purchases a hawk (a Eurasian goshawk, to be specific) to aid the grieving process. Alisdair was a well-regarded press photographer whose interests spanned many subjects, including art and nature. Helen’s previous experience with falconry at a young age with their father compels them to “recapture” the essence of a few fond memories, while confronting the uncontrollable fundamentals of the natural world with their new avian companion.
Though intentional and key to the film’s ultimate message, removing all elements of anthropomorphization leaves some scenes energyless. H is for Hawk has its unique cinematic challenge because, as Helen states, hawks are an “unaffectionate species.” The type of silly, heartwarming antics you’d expect from a dog-centric movie, or movie about another overtly emotional pet, therefore aren’t in play.
H is for Hawk proposes that animals (and nature) can and should be interacted with, but in a manner that does not disrupt or remove an animal’s natural behavior. Though quasi-controversial–and the film shoehorns in a brief confrontation on the matter–this message about our connection to nature is easy to understand and champion. On the human side, Foy delivers a strong performance filled with quiet introspection and harbored grief. Helen’s relationship to her hawk, Mabel, is naturally kept at a distance as both adjust to their shifting environments (Helen is scheduled to move out of Cambridge housing).
As the story enters its latter half, the audience begins to understand that H is for Hawk is a personal journey about acceptance. Sometimes a film like H is for Hawk gets described as a story in which “nothing happens,” but in actuality, a lot happens internally. Considering its 130 min run time, I wish that elongated scenes of Helen’s solitude were trimmed down, especially since we are clearly aware within the film’s first few minutes about where Helen ultimately needs to land, emotionally. There are no surprises or twists, or ground-shaking discoveries. Though straightforward, the film is no less effective at depicting the grieving process and the unique power of nature to help reset, and even expand, our understanding of life and loss.
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H is for Hawk opens in theaters on Friday, Jan. 23rd.
