When it comes to the experience of grief, the majestic hawk stands as a poignant symbol, unencumbered by self-pity. One might wonder where such feelings would fit into its existence, caught somewhere between the chase and the consumed prey. In the film "H Is for Hawk," directed by Philippa Lowthorpe and inspired by Helen Macdonald’s memoir from 2014, a friend of the protagonist describes the goshawk as a "perfectly evolved psychopath.”
This intriguing characterization sets the stage for exploring how Helen, portrayed by Claire Foy, becomes enmeshed in an intense relationship with a goshawk named Mabel, using this bond as a means of escaping the crushing weight of her own sorrow. After all, a bird of prey does not possess the capacity to tilt its head in sympathy or offer comfort. Through Lowthorpe's sensitive direction and a script co-written by Emma Donoghue, known for her work on "Room," what initially appears to be an unusual coping strategy evolves into something far more complex and nuanced.
Viewing Helen’s connection with Mabel through one perspective reveals it as a healing engagement with the stark realities of nature, with the goshawk serving as a reminder of mortality. However, at times, their relationship takes on a darker tone, resembling a form of self-inflicted harm—demonstrated by the actual claw marks Helen bears as a result of her interactions with Mabel. It is worth noting that while the film uses she/her pronouns for Helen, Macdonald identifies using they/them.
In essence, "H Is for Hawk" delves into the turmoil that arises when one is unable to initiate the grieving process. Following the death of her cherished father, Alisdair, a photojournalist played by Brendan Gleeson—whose vibrant spirit resonates even in his absence—Helen’s initial reaction is to cling to social obligations, such as maintaining a dinner reservation with her friend Christina, portrayed by Denise Gough. Yet there she sits, staring blankly into her curry as if it embodies the void of her grief, while a hesitant waiter attempts to placate her with dessert.
Helen's stagnation is profoundly impactful, portrayed with unflinching honesty. As her time as a research fellow at Cambridge draws to a close, she faces the impending loss of her living situation and potential opportunities, particularly a postdoctoral position in Germany. However, everything shifts dramatically when she acquires Mabel, leading her to retreat into isolation, observing her new companion perched amidst a ritual circle of newspapers in her living room.
She ignores knocks at her door, neglects to pack, and fails to compose her father’s eulogy—a task her mother, played by Lindsay Duncan, recognizes reflects a focused intensity akin to Alisdair’s own, who could filter out the chaos of the world through a camera lens. Yet, Helen’s disengagement suggests a deeper issue at play.
Claire Foy masterfully navigates the complexities of portraying grief, channeling her character's emptiness and the palpable absence of a father’s love. Interestingly, her bond with Mabel also allows her to reconnect with her childhood self, evoking both discomfort and urgency.
Lowthorpe skillfully captures the dynamic between Helen and the goshawk, utilizing the natural ferocity that exudes from the bird. In scenes where Mabel takes flight, cinematographer Charlotte Bruus Christensen’s camera follows with an exhilarating grace that mirrors the hawk's lethal beauty. Foy's dedication to falconry training ensures authenticity in these moments, paralleling Helen's own relief with that of the actress.
Rather than focusing solely on healing, "H Is for Hawk" invites viewers to explore the rawness of emotional wounds. It poses the thought-provoking question: Can we dare to look deep into our pain until our fear dissipates?
Directed by Philippa Lowthorpe, and featuring performances from Claire Foy, Brendan Gleeson, Denise Gough, Sam Spruell, and Lindsay Duncan, "H Is for Hawk" is rated 12A and has a runtime of 115 minutes.
Catch "H Is for Hawk" in theaters starting January 23.
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