COURTESY: MOVIEPOSTERSDB.COM
Rating: A+
Chronicling the life of theoretical physicist Stephen Hawking, director James Marsh’s “The Theory of Everything” breaks down the biopic formula and perfects the balance between science and poetry; mathematics and romance; profession and love.
By fusing the mind and heart of Stephen Hawking’s life, a carefully layered depiction of one of the modern era’s most revered geniuses emerges and rises leagues above a din of lesser, clumsy biopics.
Without a doubt, the success of “The Theory of Everything” can be directly attributed to incredible performances from both Eddie Redmayne and Felicity Jones, who play Stephen and Jane Wilde Hawking, respectively. Anchoring the film throughout, both performers approach the characters so wholeheartedly that the story becomes magnetic. The film envelops you entirely, much like the all-devouring black holes of which Hawking’s field consists. But instead of being pulled into oblivion, you’re gently drawn into something that is part biopic, part romantic drama – an eloquent, intelligent and elegant genre in and of itself.
The film begins in 1963 at Cambridge University, the place of origin for the things that would truly define Hawking’s adulthood: his scientific achievements, the development of his motor neuron disease and his relationship with Jane Wilde. As these three forces in Hawking’s life intersect, the film becomes a beautiful collage punctuated by heartbreaking and heartwarming moments, with Eddie Redmayne at the center of it all.
As Hawking, Redmayne executes one of the most stunningly physical and raw performances (dare I say it?) in the history of cinema. From as early as the first scene where Hawking meets Jane, Eddie Redmayne and Stephen Hawking are synonymous. Throughout the film, Redmayne sheds all inhibitions and fully embodies everything that Hawking is from head to toe.
While the physical demands alone would be a huge challenge for any actor, Redmayne expertly depicts the various stages of Hawking’s debilitating disease, even to the moment Hawking is wheelchair bound and can no longer speak. He achieves this physical presence while jointly maintaining Hawking’s persistent effervescent charm, even if it’s just through a twinkling of the eyes or the slightest of smiles.
But behind every great man is an equally great woman, and this adage refers to both Felicity Jones and the woman she portrays, Jane Wilde Hawking. Where Redmayne’s performance is more overtly striking, Felicity’s is subtler. She slowly reveals Jane’s perceived fragility as actually a quiet strength, a soulfulness that could only exist in a poet from Cambridge who loves a dying man. In many ways, Felicity’s performance is as physical as Redmayne’s. As Jane is naturally quiet, Felicity is left to reveal her character’s emotions almost entirely through her facial expressions and body language. It is through this very natural portrayal of Jane that the real complexities of their relationship are unveiled.
Laudable performances from members of the supporting cast – especially from Charlie Cox as close family friend Jonathon Jones – help to flesh out the dynamic of this relationship.
Eventually, the relationship between Stephen and Jane takes the forefront position in the story, overriding the more professional aspects of Hawking’s life. While many may disagree with James Marsh’s direction, by fixating so heavily on the personal side of Hawking’s life with Jane, the film becomes something relatable and inspiring.
It is no wonder that the film takes this route, however, as the screenplay written by Anthony McCarten is actually adapted from Jane Wilde Hawking’s autobiography “Traveling to Infinity: My Life with Stephen.” This very reason is why the film emerges as something so breathtakingly intimate and is the reason why the actors can tap into such profound emotion.
At some points, the film almost feels like a well-made home movie. The cinematography by Benoîte Delhomme evokes nostalgia, incorporating bright, retro filters into pivotal scenes and sequences. Even the score provided by Jóhann Jóhannsson further defines the relationship so central to the film. In a unique combination of acoustics, piano and electronic instruments, the score highlights the intersection of science and the arts, almost paralleling Stephen and Jane.
With five Academy Award nominations – including Best Picture, Actor and Actress – “The Theory of Everything” is one of the most intimate films from 2014, with Eddie Redmayne’s performance as one of the best I have seen and well-deserving of the Best Actor award.
