Tom Hooper directs Eddie Redmayne and Alicia Vikander in The Danish Girl, a story based on the pioneering life of Danish artist Einar Wegner who undergoes the first documented gender reassignment surgery to be transformed as Lili Elbe.
Hooper is known for his sensitive direction of unusual subject matter and for extracting awards-worthy performances from his leads. With King’s Speech he got Colin Firth the lead actor gold as the stammering stuttering King George VI as he tries to overcome his childhood disabilities and lead Britain to war against Nazi Germany. With Les Miserables he directed Anne Hathaway to a supporting actor nod as she cried singed her way to Fantine’s epic I dreamed a dream. And here he directs last year’s winner Eddie Redmayne as he grapples with what it is to be a transgendered person in the 1920s and 1930s. But the real star is Alicia Vikander who as Einar’s wife and fellow artist Gerda Wegner brings to life the Lili that Einar has since childhood tried to keep under wraps.
The first half of the movie where Einar and Gerda’s relationship is explored as husband and wife and his penchant for cross dressing and effeminate behaviour is slowly becoming more and more prominent seems a bit forced. Eddie Redmayne’s transformation from Einar to Lili seems conflict free and almost too sudden. But there is a beautiful moment when while spending time with Ben Wishaw’s Henrik Lili realises that Henrik is a homosexual who thinks he is spending time with Einar in a get up Lili leaves and a distinction is made between what it is to be a homosexual and what it is like to be a transgendered.
It is the second half where the things get a little more fluid and things seem to flow with a natural ease. Through Lili Gerda loses her husband but finds the fame she has been chasing as an artist. Her portraits of Lili sell and she wins new commissions and is the toast of Paris art-scene. There is a beautiful struggle as she tries to hold on to Einar while it is Lili that is more and more on display. As Einar tries doctors after doctors who all treat him for various mental disorders you see the struggle is real for a transgender person in the 1930s. Finally through their friend Ulla played by a ravishing Amber Heard they come across a German doctor Warnekros who performs the pioneering operation. This is where Eddie Redmayne transforms and delivers stunning performance as Lili works at a shop and tries to learn the mannerisms that make up a flirtatious girl.
The music by Alexandre Desplat is subtle as ever and underscores the silent struggles that both Einar/Lili and Gerda go through while Danny Cohen does spectacular work behind the camera to capture the stunning landscapes that Einar is known for painting and also the more personal portrait shots that are Gerda’s speciality. The scenes of the Fjords, the symmetrical shots of the Danish buildings the scenes at the wharf are all beautifully framed. The final scene of the scarf flying off at the cliff is made even more poignant because of the beautiful shot.
While not perfect in execution, primarily due to a choppy first half the lead pair turn in stunning performances and the delicate and sensitive handling of the transgender story is what lifts this from being a pure Oscar bait to being a believable and emphatic story. Do not miss The Danish Girl.
Bennett Miller directs Steve Carell, Channing Tatum and Mark Ruffalo in the psychological drama Foxcatcher. It is a story based on the life of mentally unstable heir to the Du Pont family fortune, John E. du Pont and his association with the Olympic wrestling heroes the Shultz brother.
Bennett Miller last took on the world of baseball in Moneyball and made a surprisingly entertaining movie from a story based on the dry world of player statistics and the mechanics of putting together a winning team. And with the Oscar winning Capote under his hat it was no surprise that my expectations were sky high from Foxcatcher, especially after the moody, creepy and intriguing trailers first hit the web. The end result unfortunately an indulgent and dull exercise at story telling.
If it took E Max Frye and Dan Futterman 8 years to put the script together it feels like the running time of the movie lasts just as long. I am all for moody methodical deconstruction of a character and the inherent drama involved. But with Foxcatcher the story telling is so staccato and the characters so two dimensional that it verges on being unbearable.
Steve Carell plays John E Du Pont the eccentric billionaire who offers Channing Tatum’s Mark Schultz a sponsorship and a place to come and live at the Foxcatcher ranch as he trains for the 1988 Seoul Olympics. Mark’s brother Dave is played by Mark Ruffalo who is the only character who makes sense in this travesty. The story seems to suggest sibling rivalry in the eyes of Mark as he feels he is always in Dave’s shadow while Dave loves his brother unconditionally. There have been suggestions of a homosexual undertone to Du Pont and how he felt about Mark but I failed to see any. Carell’s Du Pont is certainly creepy but there is no depth to it, the one scene that stands out for me though was when Du Pont puts on a show for his own mother by delivering a pep talk – that to me the essence of Du Pont’s eccentricities, he is still a boy trying to win the approval of his own mother. The spiralling out of control of Mark and his anger towards Du Pont when he invites Dave at Foxcatcher seems abrupt at best and unbelievable at worst. Sienna Miller plays Dave’s wife and is for most parts unrecognizable and an almost unnecessary character.
The movie is scored beautifully by Rob Simonsen with an almost atmospheric soundtrack that seems to be always present but entirely unobtrusive. And the wide shots of the Foxcatcher ranch in the different seasons by Greig Fraser are beautiful as well. There is huge potential in the story with all the underlyin tension between the brothers, the patron and the benefactor and the two men competing to play the father figure, but all of that potential is blown to bits by an uninspired screenplay and overlong quite moments when nothing happens and you fail to stifle a yawn of two. The reason why Moneyball was so good must have had something to do with Aaron Sorkin and Steve Zallian because here Miller is let down by the screenplay.
I saw this before the Oscar nominations were out and am posting the review after the fact. Seeing Bennett Miller nominated for best director seems unfair to me. Having seen and loved Nightcrawler and The theory of Everything I would happily swap him for Dan Gilroy or James Marsh in a heartbeat.