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.

Separate Lies

Tags

2000's, Drama, Emily Watson, John Neville, Julian Fellowes, Linda Bassett, Rupert Everett, Separate Lies, Tom Wilkinson

Film Title

Separate Lies

Director

Julian Fellowes

Starring

• Tom Wilkinson as James Manning
• Emily Watson as Anne Manning
• Rupert Everett as Bill Bule
• Linda Bassett as Maggie
• John Neville as Lord Rawston

A refined and yet thorny examination of love, infidelity and loyalty, Separate Lies is quite an engaging drama, with a good script from Julian Fellowes, who debuts as director and the work from the main principal actors.

James and Anne Manning are a well-off married couple who divide their time between London( where James works as a top barrister) and a house in Buckinghamshire. James likes to think of himself as an honest man who believes in the truth, though he can often be compulsively needy in having things in order and chastising those who don’t meet his standards. Anne loves her husband, but has grown tired of the boredom of life when he’s always away and also the repetitive nature of doing most things for him. It isn’t quite the idyllic life that from the outside it appears to be. Into their lives comes Bill Bule, the son of a local Lord. He is a devil-may-care man who catches the attentions of Anne, without James realising. Around this time, the husband of the couple’s cleaner, is struck by a speeding car that fails to stop. The man dies shortly after due to the injuries sustained. Anne takes an interest in helping Maggie deal with her grief and James is bewildered as to why. There is some talk that the car that hit Maggie’s husband was similar to the one owned by Bill, which sets the suspicions of James running wild. Things come to a head when Anne reveals bluntly that she has been having an affair with Bill, as well as the fact that it was her who was driving when was hit. Shattered by these twin revelations, James is sent into a tailspin. Even though Anne wants to tell the police of her involvement in the death of Maggie’s husband, James, thinking of his own reputation and the wife he still loves, persuades her not to. Keeping this dark secret on the down low is soon proving hard for everyone, even the usually cavalier Bill. Everyone in the damaged picture finds themselves doing battle with their feelings, especially James, who is caught between helping his unfaithful wife and thinking of his own back.

Julian Fellowes does quite an excellent job at directing this cool yet quietly piercing story. His strongest suit is exploring the aftermath of lies and the desire to keep things secret. If there’s q fault in his work, it’s that he sometimes doesn’t scratch the surface enough. He does have an acute eye for the minute details of behaviour, but some of Separate Lies may have gone on to be more substantial if it hadn’t been so polite. It does border more than a little on the overly genteel side and could have been a bit more forthcoming, and yet the subtleties of a lot of it did manage to make their bright presence felt. Separate Lies often feels a bit cold at points, but the largely dispassionate view it takes of the characters is still an interesting one that doesn’t fall into melodrama. It presents the characters as ones with many faults and whose choices are ultimately what changes and shapes them in ways that will have fatalistic consequences. There is no character to easily identify with because your loyalty, much like James and Anne’s actions, are ultimately conflicted and go between different people and extremes. It’s commendable that the script allows the roles to be flawed as it avoids the trap of getting us to side with one person more than the other. We are left to make our own minds up about the people who populate Separate Lies and what they all register in terms of emotion from us. The trickling sadness of the score is used sparsely but very efficiently, making certain scenes really stand out.

Tom Wilkinson, who for my money can always be relied upon for a stellar performance,  does it once again here. He gets the right amount of selfishness and critical thinking mixed with a desolation that lies below the buttoned up existence of barrister James. This is a man whose life is all about order and being in control, so when it spins off course, he is galvanized into making a difficult choice after being left to flounder. The dilemma he faces is beautifully and strongly performed by Wilkinson, who suggests a lot about the hurt and how he must let his emotions come out after being under wraps for so long. No less his equal as the seemingly dutiful wife is Emily Watson, who houses desire and bitterness within her being. Watson deftly plays Anne as a woman of many contradictions; in me breath she is regretful and destroyed by her actions and then almost ambivalent and apathetic about her indiscretions. It’s a difficult task to accomplish, but Emily Watson does it with a depth and surprise that makes it very believable and real. The moral quagmire of James and Anne is simply marvellous to witness with Wilkinson and Watson at the top of their game in the acting stakes. Rupert Everett features as the rich cad and provides the catalyst that has a severely deep and shattering impact on all. The role doesn’t really call for much in the way of development, though Everett still makes it watchable. In supporting roles, Linda Bassett as the cleaner with a possible hidden agenda and John Neville as Bill’s stately father, do pretty good stuff in their respective parts.

A bit more oomph may have benefited Separate Lies, but the outcome of it is a largely arresting and melancholy movie that deserves attention for the way the characters are written and the strong performances from the cast, in particular the fascinating leads of Tom Wilkinson and Emily Watson.

Testament of Youth

Tags

2010's, Alicia Vikander, Based on a true story, Colin Morgan, Dominic West, Drama, Emily Watson, Hayley Atwell, James Kent, Kit Harington, Miranda Richardson, Taron Egerton, Testament of Youth, War

Film Title

Testament of Youth

Director

James Kent

Starring

• Alicia Vikander as Vera Brittain
• Kit Harington as Roland Leighton
• Taron Egerton as Edward Brittain
• Colin Morgan as Victor Richardson
• Emily Watson as Mrs Brittain
• Dominic West as Mr Brittain
• Hayley Atwell as Hope
• Miranda Richardson as Miss Lorimer

A beautifully moving and stirring movie, Testament of Youth recounts the true events in the life of Vera Brittain during the First World War, filled with determination, horror, heartache and self-sacrifice. Powerfully acted and poignant to the core, it’s a well-rendered triumph of emotion and bravery from her memoir.

We begin on Armistice Day and while everyone is celebrating the end of the First World War, Vera Brittain begins to reflect on her own personal experiences. We flashback to 1914, Vera is an independent, passionate and free thinking girl whose attitudes were at odds with her parents ideas of her becoming a respectable lady. Along with her good-hearted brother Edward, friend and secret admirer Victor Richardson and sensitive Roland Leighton, Vera enjoys rebelling against the norms of the time and we first glimpse her swimming in a lake without a care in the world. She has ambitions of becoming a writer, but her shocked parents are not exactly thrilled to hear of these plans. She is encouraged by Roland( who also would like to write but doesn’t quite have the confidence), who she holds a torch for to apply to Oxford because of her dreams and while nervous she does so. When she gets a place at Oxford, she couldn’t be more overjoyed and she makes her intentions clear to Roland, who reciprocates her love. Yet this happiness for Vera proves to be short-lived as the War begins and Roland signs up, along with Edward and Victor. With the world at war and it continuing on longer than expected, Vera tries to go about her studies at Oxford which she fought so long and hard for. But her irrepressible spirit tells her that she must act and sacrificing her place at university, she begins to work as a nurse, which eventually takes her to The Front. Yet the war is a cruel time and one by one, Vera’s life is turned upside down by personal tragedy and turmoil. But the young Vera isn’t broken yet and continues to do her part for the war, while bravely experiencing the utter horrors it can bring.

James Kent contributes an emotionally involving direction to the film. He thankfully doesn’t fall prey to the usual problems of making a true story have an impact on the screen without overdoing it. Testament of Youth isn’t strictly a biopic, it is based on a true story but doesn’t feel episodic like other biopics. It does have elements of a biopic that are thankfully realised with heart and soul. The way that Kent intercuts scenes from a happier time in Vera’s life with the devastating effects of war is assured and heart-wrenching to watch. Aside from this, the use of camerawork puts the audience deep in the heart of the emotional story by often focusing on faces, in particular the changes on Vera’s as the war deals its tragic blow on her. It is a sensitively done movie that doesn’t go for histrionics, instead it opts for subtle emotions that make the story all the more powerful. The closeness of the story makes us feel like we are there and when Vera experiences something, we too feel the exact same way as her. For a movie that centers around war, the battle scenes in Testament of Youth are few and far between. I believe that Kent is more interested in showing the aftermath of the war and the horrific wounds both physical and emotional it can inflict on us. Though it must be said it doesn’t scrimp when showing the horror of war either when Vera is a nurse, which adds a very haunting angle to the movie. Although it is a heartbreaking film and moving in every sense of the word, Testament of Youth does however retain a sense of glimmering hope in the form of Vera. Through her struggles, we witness her transform and eventually see her ultimately become a passionate pacifist, who refuses to forget the fallen. Vera Brittain was such a brave woman and it is shown here how she suffered immense pain, but managed to survive being engulfed by it to write her personal story down for the world to know. There may be romance within the story between Vera and Roland, but it is not a full-blown passionate union. It is a fleeting and tentative romance that only heightens the ultimate tragedy that it later ends in. A beautifully evocative score adds considerable impact to events and seems to act as Vera’s resilient voice as the war rages on and personal suffering surrounds her.

Anchoring the film with a powerful performance is Alicia Vikander as Vera Brittain. Essaying the part with depth, emotional subtlety and strength, we get a real picture of what Vera endured during the war and how it shaped her as a person. Vikander brings passion to the part and never reverts to over the top displays of emotion; the effectiveness of her performance lies in the nuance she gives it and how she doesn’t require a single line of dialogue to get across the intense emotions within her. Kit Harington is very good at portraying Roland, the man who Vera falls in love with and who makes a deep impression on her. His scenes with Vikander are wonderfully acted to say the least and contribute to their doomed romance. Then there is Taron Egerton, who imbues Vera’s brother Edward with a loyalty and sympathy that is sensitively observed. There is a deep honesty to Egerton’s performance that really shows his talent here. Colin Morgan is subtly wonderful as the pining Victor, and there is excellently classy support provided by Emily Watson and Dominic West as Vera’s disapproving parents.  Seen in a small role as a nurse working with Vera on The Front, Hayley Atwell makes the most of the part and Miranda Richardson contributes her usual reliable presence as an Oxford teacher who comes to respect Vera.

Testament of Youth is an emotional recounting of Brittain’s memoir and it does the deeply personal subject matter of suffering, sacrifice and perseverance justice with clarity and a strong lead performance from Alicia Vikander.

Breaking the Waves

Tags

1990's, Adrian Rawlins, Breaking the Waves, Drama, Emily Watson, Jean-Marc Barr, Katrin Cartlidge, Lars Von Trier, Stellan Skarsgård, Udo Kier

Film Title

Breaking the Waves

Director

Lars Von Trier

Starring

• Emily Watson as Bess McNeill
• Stellan Skarsgård as Jan
• Katrin Cartlidge as Dodo McNeill
• Jean-Marc Barr as Terry
• Adrian Rawlins as Dr. Richardson
• Udo Kier as Man on the trawler

Breaking the Waves is the devastating and very powerful story of faith, sacrifice and love. Crafted by Lars Von Trier, it doesn’t make for the easiest viewing but boasts an emotionally complex performance by Emily Watson and a dizzying visual style that haunt the mind.

Bess McNeill is a naive, childlike and devoutly religious girl brought up in an austere Scottish coastal town in the 1970’s. The elders of the town rule with a dogmatic power and are strictly religious to say the least, their actions include giving sinners a pauper’s funeral and not allowing women to voice opinions in church. Bess falls for Jan, an oil rig worker who is deemed as an outsider to the community. They eventually marry although this isn’t without a few eyebrows being raised. During the blissful days after their wedding, Bess is shown the love and sexual relationship that can be had between a couple. It is when Jan has to go back to his work that Bess finds it most difficult. She becomes distant and panics as she can’t bear to be without her beloved. She prays for his return from the rig. Jan does return yet not as Bess had hoped. He is severely injured in a working accident and most of his body is now rendered paralysed. Unable to sexually express his love to her, Jan asks Bess a strange question. He asks her to take other lovers and report back to him regarding the encounters, thereby making Jan feel like he is still a part of Bess. Bess is initially shocked by his question and refuses it. But she later becomes convinced that this will help Jan and so she goes out to perform these favours which start out innocent enough, but slowly evolve into dangerous and ultimately devastating consequences. Starkly powerful, uncomfortably shown and startling performed, Breaking the Waves makes for an uncompromising but astonishingly told story of the singular power of love and the horrifying sacrifices one is forced to make.

As is often the case with movies by Von Trier, Breaking the Waves is not for everyone and will polarize many. The grim quality to the story and the visual style won’t be for all audiences, but for those with a strong stomach it may be watchable. Von Trier employs a delirious, handheld camera to capture the escalating events that befall the beatific Bess. The colour appears to have been washed out which compliments the austere and horrifying community and its beliefs. A well-chosen soundtrack of 70’s rock and pop give the events a certain immediacy to the audience and provides a brief moment of happiness in the uncomfortable saga that soon arrives.

What really gives Breaking the Waves a haunting and shocking power is the emotionally shattering central performance from Emily Watson in her movie debut. She encompasses the pixie like innocence of Bess and the deep and heartfelt love that she holds for her husband. There isn’t one emotion that Watson doesn’t encompass in this story and her raw, intense and heartbreaking performance anchors the startling story. Whether crying out for Jan’s return, telling her doctor her talent, speaking to God in a childlike voice( before answering back in His voice) or marching up her strange path of martyrdom, Watson is a revelation.  Stellan Skarsgård is well cast as Jan, bringing an alternate tenderness and strangeness to his role. Katrin Cartlidge and Adrian Rawlins provide stunning support as the best friend of Bess and her local doctor, who both begin to worry for Bess. Jean-Marc Barr provides some humour as one of Jan’s co-workers, while Udo Kier is frighteningly sadistic as a sailor.

Uncomfortable and shocking in equal measure, Breaking the Waves is also a heartbreaking and powerful saga of religion and the strange power of one woman’s love and the shocking consequences which arise as a result of it.

The Proposition

Tags

2000's, Australia, Danny Huston, Emily Watson, Guy Pearce, John Hillcoat, John Hurt, Nick Cave, Ray Winstone, Revenge Drama, The Proposition, Western

Film Title

The Proposition

Director

John Hillcoat

Cast

• Guy Pearce as Charlie Burns
• Ray Winstone as Captain Morris Stanley
• Emily Watson as Martha Stanley
• Danny Huston as Arthur Burns
• David Wenham as Eden Fletcher
• John Hurt as Jellon Lamb
• Richard Wilson as Mikey Burns

Brutal, blood-soaked but also thought-provoking and strangely poetic, The Proposition is an Australian western that delves deep into the minds of its characters. Scripted by Nick Cave, of the Bad Seeds fame, the film is visually exemplary and excellently performed. If it’s a western that focuses on the characters and the repercussions of their actions, then The Proposition is the film for you.

In 1880’s Australia, English lawman Captain Stanley captures two brothers, Charlie and Mikey, of a famous band of outlaws after a brutal shootout. They are accused of the heinous murder of a colonial family, including the woman of the house. Stanley, who has his own version of justice, gives Charlie the title proposition; either he hunts down and kills his psychotic older brother Arthur or his feeble-minded younger brother Mikey will hang in the number of weeks that precede Christmas. The laconic Charlie goes in search of his brother in the arid Australian outback whilst deliberating what he will do. Meanwhile Stanley’s superior Eden Fletcher has decided to make an example of the young prisoner, which disturbs Stanley as he tries to wrestle with his conscience. The eponymous proposition will have consequences for every character involved as the film moves towards a shocking climax.

Nick Cave, best known for brooding songs about death, violent, bloody revenge and choice, fashions many of these themes into his poetic screenplay. It is as if he had written a song and extended it into celluloid. Unlike some westerns that feature constant shoot-outs, The Proposition, although violent and bloody throughout, focuses more on the choices and actions of the characters to move the story along. This is more effective as it paints a bleak and haunting portrait of a lawless time in which there are no easily identifiable bad guys. Cave also provides an atmospheric music score that compliments the long-lasting consequences of fatal decisions and gives Charlie’s journey to track down Arthur an almost mystical edge. Cinematography is a key component, showing both the savage and unforgiving state of the town and the arid beauty of the outback, sometimes at the same time. A fine cast of actors flesh out Cave’s challenging characters, with Guy Pearce, Ray Winstone and Emily Watson making the biggest impacts. As Charlie, Pearce exudes weariness at his difficult proposition, although he doesn’t share much love for his older brother, he still struggles to decide whether to kill him or save his other sibling in a strange Cain and Abel way. As Stanley, the lawman who is by turns violent and kind, Ray Winstone reveals new-found depths as an actor that make his character interesting to watch. As one of the few women in the picture, Emily Watson is reliable as ever as Stanley’s wife Martha, who is delicate and haunted by the murder of her friend. It is she who brings out the kinder side to Stanley but also shocked and repulsed by the lawlessness surrounding her. Watson delivers a powerful monologue that speaks of her dreams of her dead friend that is so poignant and poetic, mainly because of her faultless phrasing and delivery. In supporting roles, Danny Huston as the psychopathic Arthur and John Hurt as a drunken bounty hunter, both imbue their characters with unstable menace that is very disquieting.

As I mentioned earlier, the film is quite violent in parts, especially when Mikey is brutally lashed,  so be warned if you are squeamish. But if you can handle it you shouldn’t miss this revenge riddled western that paints a brutal picture of crime and lawlessness and is scripted and acted to a high standard.

What is your favourite debut performance by an actor or actress?

Tags

Breaking the Waves, Debut performances, Dustin Hoffman, Edward Norton, Emily Watson, Leon, Natalie Portman, Primal Fear, The Color Purple, The Graduate, Whoopi Goldberg

Sometimes a debut performance by a rising star can go unnoticed, but in some cases there are debuts that transform careers and announce the arrival of a whole new talent. I am writing this post as I have seen quite a few debut performances that really stuck in my memory. So have a think about which debuts had an impact on you and why?In case people out there are struggling to remember debut performances, I will list some of the ones that I consider very memorable:

Natalie Portman as Mathilde, a young girl who wishes to avenge her families murder and is taken in by a hit man in Leon.

 

Edward Norton as Aaron Stampler, a stuttering altar boy accused of murder in Primal Fear.

Dustin Hoffman as Benjamin Braddock, a college graduate who begins an affair with an attractive older woman in The Graduate.

Emily Watson as Bess McNeill, a devoutly religious woman who takes other partners at the wish of her paralysed husband in Breaking the Waves.

Whoopi Goldberg as Celie Harris, a poor girl who must overcome adversity, prejudice and abuse in The Color Purple.