The Theory of Everything (2014)
A biopic on the life of Stephen Hawking, arguably one of the most brilliant men in the world, stricken with ALS and given only two years to live, should be resolutely fascinating and inspirational. And it is at points, but there’s still a gnawing dissatisfaction with The Theory of Everything, a sense that there isn’t more to it, that it lacks a center, that, primarily, it should be better. The film follows Stephen (Eddie Redmayne) as a PhD student who immediately falls in love with Jane (Felicity Jones). Shortly after their courtship, he is diagnosed with ALS and rather than preparing for the end, he pushes forward to great intellectual discovery and achievement, though the hardships and care for his physical disability places tremendous strain on his marriage to Jane. The film does a nice job of examining how a relationship comes to an end and without having to cite one party or another as a villain. It’s so measured and understanding and empathetic, but it’s also somewhat docile and hesitant, keeping its distance when it could dive deeper into Hawking and his family. Theory is far too reliant upon the tropes of biopics, speeding through significant moments for Stephen and Jane with an almost comical degree (watch how quickly the kids multiply). The moments that stray from this formula are the ones that stick the most, like a shocking moment where Stephen exits his chair to pick up a fallen pencil, a striking and poignant moment so effectively communicating the desires of its character. The film needed more creative detours. Director James Marsh (Man on Wire) has a good command of his visuals but I was left wanting a more daring approach to a story of human endurance, like 2007’s Diving Bell and the Butterfly. The real reason to watch the film is the amazing performance by Redmayne (Les Miserables). The physical control he’s able to have over his body in the latter stages is astounding, but his performance is much more than just a collection of tics. There’s a moment late in the film where, even in his limited facial configuration, he breaks your heart with the richness of his acting. It’s such a great performance that you just wish the rest of The Theory of Everything could measure up.
Nate’s Grade: B-