The Theory of Everything

Tags

2010's, Based on a true story, Biopic, Charlie Cox, David Thewlis, Drama, Eddie Redmayne, Emily Watson, Felicity Jones, James Marsh, Maxine Peake, Simon McBurney, Stephen Hawking, The Theory of Everything

Film Title

The Theory of Everything

Director

James Marsh

Starring

• Eddie Redmayne as Stephen Hawking
• Felicity Jones as Jane Hawking
• Charlie Cox as Jonathan
• David Thewlis as Dennis Sciama
• Simon McBurney as Frank Hawking
• Emily Watson as Beryl Wilde
• Maxine Peake as Elaine

A soaring and immensely moving movie based on the journey of Stephen Hawking and his first wife Jane, as they defied the odds stacked against them, The Theory of Everything has both emotion and insight into a brilliant mind that refused to be halted, despite the dark prognosis given to him and how his wife persevered and supported him.

We begin with Stephen Hawking in 1963 where he is a theoretical physics student at Cambridge. He is especially gifted at maths and curious about cosmology, yet hasn’t decided on what to do for a thesis. Around this time, he meets pretty literature student Jane. Both are of different ideals; Stephen believing in stars and science, while Jane is more artistic and a believer in God. Both start to fall in love and Stephen also begins to become interested in studying time for his thesis. Yet his burgeoning relationship with Jane and are dealt a devastating blow. His muscles start to play up and after a nasty fall and examination, he is diagnosed with ALS; which directly affects muscles, the body and eventually his ability to walk, speak and breath. He is also told that he only has around two years to live. Reeling from this, Stephen throws himself into his theories and attempts to push Jane away, but she refuses as she is deeply in love with him. Together, they marry, have children and instead of giving up, continue to face the hardships of his condition head on. Yet as time goes on, Stephen’s condition worsens and it takes a toll on Jane. She dearly loves him, but the strain of his debilitating body and dependence on her is becoming more difficult to bear. Stephen excels with his theories and experiences success as a respected scientist speaking of the universe and how it came to be, but can obviously see that his condition is not something he can just ignore. As everything grows more testing, Stephen and Jane are forced to confront what to do next, despite their deep love for the other.

James Marsh sensitively directs this biopic with a clear understanding of visual and emotional depth. In terms of pacing, he pitches things just at the right speed, only tripping up sometimes and rarely at that. Other than that, Marsh has a good eye for pattern and symmetry, particularly in reference to Stephen’s study represented by swirling and circular spirals. Kudos must be awarded to the cinematography in this biopic that practically shimmers and lends a hopefulness to what is already a highly moving and extraordinary story. The occasional use of an old style camera, complete with grain and colour abrasion, is also notable in capturing the changing events and as a passage of time for the couple. It’s the emotional core of Stephen and Jane that really stands out the most, as they take on the deafening odds and continue to challenge what they’ve been told. We are invested in their love for each other; we get to glimpse those moments when both realise that it’s not as easy or as straightforward as love just being enough, yet there is still a very touching sense of bond that transcends all the darkness they endure. Both may overcome severe obstacles thrown at them, but there’s a refreshing honesty to The Theory of Everything that underlines how even the strongest of loves can be shaken and pushed to breaking point. Overall, it’s the inspiring nature of the story that is what sells The Theory of Everything, depicting Stephen’s refusal to stop working and Jane’s backbone of steel in supporting him. The resilience that both of them show and went through for real is simply outstanding, considering the initially dire outcome that was predicted for Stephen upon diagnosis. Pathos and uplifting moments are frequently employed and add significantly to the difficult journey of Stephen and Jane; one that is testing as it is rewarding. Some may quibble with the often sprightly pace of the film which only occasionally gets in the way. Though saying that, as the story covers such a large area of time, it seems only right to cut any flab and focus on the emotional and personal crux of it all. In that sense, it cuts straight to the heart of the deeply engaging and honest story observed. And while it does that, it still takes time, especially in the beginning to foreshadow the decline of Stephen’s health through various hints. I simply have to commend the score of this movie that moves through lovely rhythms and melancholy moods with a clear command and soulfulness. It brings out such a richly evocative to an already

What really invests your heart and soul in is the two sublime performances from Eddie Redmayne and Felicity Jones. Eddie Redmayne, in an Oscar-winning performance, is a physical and emotional marvel as the renowned Stephen Hawking. He completely transforms into the part; displaying the deep intellect of his mind, ability to crack a joke even in dire situations and in latter stages when his condition has rendered him unable to speak and largely paralysed, his face and eyes say so much to us all. We truly feel the palpable toll his diagnosis takes on him, but how he is not going to simply give up on his dreams. The difficulties of Stephen’s deterioration physically only seem to make his mind more determined to thrive, a quirk that Redmayne fully explores and exudes with clear nuance and clarity. He is so invested in role that you forget that it’s an actor playing a part, such is the conviction and dedication to the task of playing Hawking that Redmayne does with every fibre of his being. Redmayne fully warranted the Oscar he received for his powerful performance here. No less excellent or beautifully nuanced is Felicity Jones as his wife Jane. Jones has that ability to really suggest her innermost feelings without saying a word, as it is clearly written over her face. This skill is wonderfully employed in a sensitive performance of immense strength and vulnerability from the talented Jones. Jane is a lovely person but no pushover and a compelling force of inspiration, who can be a stalwart rock but is not immune to feelings of sadness and deep uncertainty. Both stars have a sensitive and deeply felt bond with each other that resonates deeply and will stir your feelings. Supporting players are finely chosen, with Charlie Cox, David Thewlis, Simon McBurney, Emily Watson and Maxine Peake fleshing it out. But the film ultimately belongs to Redmayne and Jones.

Anchored by two beautiful performances and strikingly directed and scored, The Theory of Everything celebrates strength and love in the face of adversity. Plus, it allows an understanding into the mind of Hawking and how he triumphed, with help from Jane, to become the respected man he is still now.

Macbeth

Tags

2010's, David Thewlis, Jack Reynor, Justin Kurzel, Macbeth, Marion Cotillard, Michael Fassbender, Paddy Considine, Sean Harris, Tragedy, William Shakespeare

Film Title

Macbeth

Director

Justin Kurzel

Starring

• Michael Fassbender as Macbeth
• Marion Cotillard as Lady Macbeth
• Paddy Considine as Banquo
• Sean Harris as Macduff
• Jack Reynor as Malcolm
• David Thewlis as King Duncan

Shakespeare’s classic play Macbeth is one that is often committed to film many a time, but this version of the tragedy has enough clout and striking atmosphere to distinguish it from the crowd.

The film begins on a Scottish battlefield as civil war is raging. Lord Macbeth is fighting for the cause of King Duncan against the opposition. The battle is a bloody one and following events will also change for Macbeth. After the battle, Macbeth encounters a group of witches who tell him of a prophecy that he will be king. The other part of the foreshadowing is that his friend and fellow fighter Banquo’s descendants will also be kings in the future, as Macbeth’s child has died. This prophecy, in particular the fact that he will become king, haunts and consumes Macbeth, who is unsure of how to react to it. Yet spurred on by the deep ambitions of his manipulative wife Lady Macbeth, he goes through with the deed and kills King Duncan. The King’s son Malcolm sees what has happened yet flees, leaving the throne wide open to Macbeth, who already holds a significant title. Macbeth, thanks to the murder he committed with the help of his wife, is crowned King just like the prophecy of the witches said. But the grips of paranoia seize Macbeth and he is haunted by his actions. People grow suspicious of Macbeth and his ways, in particular Banquo and Macduff. This brings out the depraved cruelty within him that begins to wipe out anyone who stands in the way of his tyrannical rule. Soon Macbeth is spiraling into full-on delusional behaviour and outright savagery, as what was once good inside him shatters in the wake of his viciousness and ambition.

Adapting anything from Shakespeare must be a challenge, as you want to  stamp your own impression on the material and not just follow suit of everyone else, though keeping the feeling of the play is crucial to. No one need worry though with Justin Kurzel in the director’s seat. He makes this Macbeth bold, uncompromising and daring in style and content. I’ve always seen Macbeth as something of a cinematic work, and Kurzel holds control over events like a maestro conductor with a dazzling repertoire of celluloid techniques that thrust the story into visceral and dark life. Mist and oppressive setting of the film gives grandiose and spooky ambience to Macbeth, that ensures that the coldness and savagery we witness practically seeps off the screen into our conscience. Gothic splendour exudes from almost every frame before we get an orange-red climax that is an exhilarating spectacle of overflowing anguish and corrupting darkness in which Macbeth faces off with Macduff. Macbeth should also be praised for adhering to the text in a largely faithful manner. It doesn’t try to bring anything up to date and has the verse intact, allowing the actors to savour the lines they are given. A Celtic influenced score matches the events beat for beat as treachery and murder ultimately take hold of almost every character.

At the heart of the film there is Michael Fassbender, who is searing as the eponymous character. Displaying a an engulfing ferocity that becomes more impossible to contain, Fassbender truly draws out the menace and cruelty of Macbeth. Yet in quite a few instances he humanizes the character a little bit, so you can practically feel the anguish and growing paranoia from the moment he stabs Duncan and begins his downward spiral. Fassbender is truly on fine form as Macbeth, wrapping his voice around every syllable with a commanding performance of intensity and suffering. Matching him move for move is Marion Cotillard as the driving force which is Lady Macbeth. She’s a calculating woman of dark ambition that Cotillard plays to the hilt with a sometimes mask like detachment that serves the character well and gets the audience to puzzle over what is going on in her head. With the added sub-plot of her losing a child, Cotillard works wonders in unfurling that maybe Lady Macbeth has filled the devastating void left my her loss with a ruthless and cruel plots of which she has control over. It’s a different interpretation of the character that is all the better for the uniqueness that Cotillard provides, especially in the later scenes of a guilt-ridden woman knowing that a lot of her husband’s descent is by her own hand. The excellent supporting cast is strong and includes David Thewlis, Paddy Considine , Sean Harris and Jack Reynor. Each of these respective actors is fine in their roles, though the film ultimately belongs to Michael Fassbender and Marion Cotillard.

A visceral, violent and bold retelling of the play, Macbeth brings the action to the cinematic heights yet never sacrifices the intimacy or verse of the source material. Shakespeare never looked so brutal and entrancing as it does here.