James Marsh directs Eddie Redmayne and Felicity Jones in the Stephen Hawking biopic The Theory of Everything. The movie is an adaptation of the book by Hawking’s first wife Jane Hawking and looks at the remarkable life of the noted theoretical physicist, his staggering achievements in the face of a debilitating disease. But make no mistake this isn’t a movie about science and the black holes and gravitational singularities but it is a love story, an intimate look at the nearly 30 years of Stephen and Jane Hawking’s marriage and the ups and downs that they go through.
James Marsh is known more for his exhilarating documentary Man on Wire and the equally fascinating documentary on a chimpanzee that was snatched from his mother and raised in a human society. But his control on the subject matter at hand here is adept and he infuses warmth and genuine human emotions in the relationship dynamics between the lead pair. From the very first frame to the very last this is a celebratory picture of the love that undoubtedly saved Stephen Hawking from would the doctors in 1963 predicted to be a heavily crushing defeat in the face of Lou Gehrig’s disease.
The lead pair turns in phenomenal performances which carry the entire film. Eddie Redmayne as Stephen Hawking is full of wit, charm and charisma first as the lanky geeky Cambridge PHD student and then as the wheelchair bound yet iconic theoretical physicist. It is almost impossible to separate the Redmayne Hawking from the public persona of Hawking himself. He comes off as someone who is not bound by the limitations of his disease and someone who is a source of inspiration for millions around the world as a person who overcame an impossible hurdle and contributed so greatly to the world of science. Even behind the prosthetics and the Equalizer program to relay his voice via a computerized program Redmayne never ceases to amaze. He is as fiercely independent and alive from the inside that one would expect a man like Stephen Hawking to be. Felicity Jones as Jane Hawking couldn’t be any more perfect. She is the sweet and loving as the Cambridge student who catches the fancy of Hawking and strong willed and formidable as the partner who refuses to walk away when Stephen breaks the news to her of his illness. She underplays the dotting wife who is herself struggling to keep pushing through the difficulties in such a believable manner that you do feel for her even when you know it is Stephen who is going through much worse. Her vulnerability around Jonathan played by Charlie Cox and the restraint with which she manages to push back the feelings she has for Jonathan are beautifully portrayed. The dynamics between Stephen, Jane and Jonathan are very telling in two scenes in particular the first one where they meet for the first time at dinner and the second when Stephen goes to Jonathan to ask him to continue helping Jane. It is a sensitive subject matter dealt with dignity and gravitas.
Visually the movie is plush in sepia tones and it lends itself beautifully to the love story being told. The music by Johann Johannsson is a beautiful companion to the story. The screenplay by Anthony McCarten who adapted Jane Hawking’s book “Travelling to Infinity : My Life with Stephen Hawking” is rich with humorous undertones and the final scene where we see a flashback of the events of Stephen’s life in reverse order coming to an end at the first instance he laid eyes on Jane is a stroke of genius as it ties in with the theories of Hawking and how he believes that there should be one elegant equation which can tell us of the moment of the beginning of universe or the beginning of time itself.
To me this is beautiful movie which tells the story of a very real struggle and the thumping triumph that the love between two individuals enables them to overcome insurmountable odds. It features two of best performances of the year. Felicity jones is a revelation and Redmayne is an absolute joy to watch as Stephen Hawking. This is a small movie by a relatively small player in the politics of awards but if there is any justice it should be Redmayne who should walk away with the best actor award this year and not Cumberbatch or Keaton. Do not miss this movie.
A Christopher Nolan movie is an event movie – it deserves tonnes of press and an even greater amount of hype and excitement as Nolan rarely disappoints. The man who single handedly revived the super-hero genre, the one who dabbled in magic and memory loss and dared peer inside our dreams is revered among cinephiles and for good reason. And when this man sets off on an inter-galactic voyage you simply strap in and join him for the ride on the biggest screen possible. To say I am a Nolan devotee would be a gross understatement. I have devoured every tidbit of information that came out while Nolan worked away on his space sojourn and Interstellar was the number 1 most anticipated movie for me for this year. I was back in 2010 when I was waiting with bated breath for Inception to unfold and for it to silence all Nolan critics and it did in spectacular fashion. Would Interstellar be able to continue Nolan’s winning streak or will the law of averages finally catch up with this auteur. Read on to find out more – there are no spoilers in this review
The story starts in the near future where science is all but forgotten, the school teach students that the Moon landing was a hoax perpetrated to bankrupt the Soviet Union and trained astronauts are left to plough the field for crop. This is the caretaker generation, struggling through dust clouds and crop blights to survive while staring extinction in the face. Through curiously encoded messages Cooper played by Matthew McConaughey and Murph played by Mackenzie Foy end up at NORAD a clandestine NASA mission run by the Nolan-regular Michael Caine playing Professor Brand. He asks Cooper – the best pilot they ever had- to join the mission along with his daughter Amelia played by Anne Hathaway, Romily played by David Gyassi and Doyle played by Wes Bentley. The mission is to follow 3 of the 12 previous astronauts who left our galaxy to travel through a mysterious wormhole to look for other planets which could be used to sustain human life. No more story-wise, lest I risk the spoiling of the surprises that are in-store.
Nolan is a master of visuals. His association with Wally Pfisher was what elevated his movies to the next level. With Hoyte Van Hoytema donning the cinematographer’s hat I had a feeling we won’t be let down because he filmed the wonderful Her last year and made the future very accessible and believable. The visuals Van Hoytema creates of the inter-galactic voyage are stunning in their grandeur but as one wired article evidences they are also based on a very real scientific equations which Kip Thorne the theoretical physicist from Caltech collaborated on with the team behind interstellar. The wormhole, the blackhole, and the Endurance spacecraft passing alongside Saturn are all stunning in their detail and scale. Where the visuals however are let down are with the background score. Hans Zimmer who has provided very complementary scores for previous Nolan movies plays it too heavy handedly this time around. The loud klaxon based soundtrack takes away from the scene and makes it almost unbearable. A Clint Mansel or Alexandre Desplat score would have served Nolan better giving it the Kubrickian feel of using the classical compositions. With the thunderous riffs and booming drums of Zimmer the crescendos come quick and fast but there is no payoff visually or story wise .
Nolan had me scratching my head when he announced that Matthew McConaughey would be the lead actor in Interstellar and my worst fears have come to fruition. Every time Cooper opens his mouth to speak out comes the stoner cowboy drawl that will dull anyone to sleep. Half the time his words are illegible and the other half just unbearable. He is unbelievable as someone who understands and can hold a conversation about quantum physics and he puts in no efforts to the contrary either. Anne Hathaway is still stuck being Fantine from Les Miserables and cannot seem to turn the tears out. If we had a whiny bio-physicist and a stoned out southerner to rely on to save the fate of humanity our chances look grim. Thats where the grown up Murph, Jessica Chastain comes in – she is the only one that manages to come across as someone with a sane mind but her interaction with her brother played by Casey Affleck make little sense. But my biggest grief is with David Gyassi who plays fellow astronaut Romily who waits on board Endurance when Coop, Amelia and Doyle go to the planet of the Tsunami waves. He ages 22 years when they get back on the spacecraft and I for one instance thought he was just hamming it to tease Coop and Amelia on the passage of time but he wasn’t and he had really aged and he acts really weird too, walks with a slouch and sounds defeated. The whole effect is jarring and not entirely believable.
For a movie that is nearly 3 hours long there are key scenes which feel rushed and unresolved. The initiation of Cooper into the Save-the-humanity program, the travel to the different planets to find the data, the climax which holds the key to the human survival seem hurried and rough. If more time was spent on these, more technical aspects of what is essentially a sci-fi adventure it would have felt like the Nolan movie I have come to expect. Instead we spend an inordinately long time setting up the doomsday scenario in the first half with the dustbowl and the father daughter bond that will be Cooper’s driving force. Also once onboard the time spent whining about personal issues is almost juvenile and for Nolan standards unpardonable. Instead of Cooper and Amelia talking I would much prefer a lively chat between TRAS and CASE the two robots who are nods to HAL9000 from 2001 : A Space Odyssey.
There is little doubt that this movie is not all that it could have been. A majority of the responsibility falls on the shoulders of Matthew McConaughey who I hope Nolan never collaborates with ever again. But this is still a Nolan movie it is big on Ideas and huge on visual impact. For a director who dares to take such huge risks and break away from the formulaic big-budget franchise movies it deserves a watch. It won’t redefine the sci-fi genre in the way that 2001 did. But like Inception it is an idea that needs to be explored and discussed and it makes the most complicated science easily accessible and it makes you think. And I want Nolan to break the bank on this one so he can get back to the long-gestating Howard Hughes biopic.
Luc Besson directs Scarlet Johansson in and as Lucy – ironically named after the first woman ever ( a fact shared in the film of which there are many). Lucy is the first human to ever access more than 10% of their brain power. Morgan Freeman joins along for the ride as the a professor who specializes in similar subject matter.
Besson dreams up themes which have been part of many a spirited debate in the theoretical sciences which argue that human’s aren’t done evolving yet and that once we are able to unlock the additional capacity that our brain possesses, we shall be able to accomplish hitherto unimaginable feats. But the choices Besson makes turn this sci-fi high concept into nothing more than a high adrenaline slick action caper.
Scarlet Johansson who accomplished so much more in last year much loved sci-fi romcom Her with just her voice, channels her inner Keanu Reeves with the mandatory wooden expression. I am yet unable to understand why do sci-fi creators always feature protagonist with no ability to express emotions? If we are going to be more evolved in the future wouldn’t we be more expressive? More emotive? More human? But she packs a serious punch as she whoops ass wushi ( that’s samurai in chinese) style.
Morgan Freeman can recite the phone book at it would sound exciting as hell. Here he reprises his role as the voice over for IMAX documentaries and acts as a narrator so that the audiences can garner some semblance of what the hell is going on. Is Freeman really the go to guy for any science related stuff in Hollywood? Or perhaps he is chosen for his abilities to make the most inane of mumbo-jumbo sound legit.
Besson makes a lot of poor choices which even under the guise of sci-fi creative license are inexcusable. Like the first time lucy walks into the hospital she just suddenly develops the ability to read Mandarin? Couldn’t Besson just provide Lucy with some light reading on the taxi ride to the hospital so that it seems like she learnt Chinese? I mean even Small Wonder had more sense than Besson shows here. The action is fine and fun and at 88 minutes the movie never ones drags but at times feels like logic was sacrificed at the floors of the editing room.
Despite the minor flaws the movie is entirely entertaining and Scarlet Johansson is on the screen slowly walking up and down corridors for a good part of the 88 minute run. And just for that go see Lucy.