Even in its early stages, The Theory of Everything had Oscar-bait written all over it, with production of Stephen Hawking's life being in production as far back as 1988 when Hawking's infamous book A Brief History of Time was first published. But thanks to Jane Hawking's 2004 memoirs, the film finally came to fruition and has since earned a number of accolades - recently a Best Actor (Drama) Golden Globe for lead Eddie Redmayne, which will likely garner an Oscar nomination come Thursday. But is taking the route of focusing more on the man rather than his theories the best way to portray the legendary logician?
Opening in 1963 with the meeting of Stephen (Redmayne) and Jane (Felicity Jones), and quickly their relationship grows. But once the first signs of Motor Neuron Disease begin to show, Jane does everything she can to try and keep their relationship afloat with the short life expectancy and the issues of both of their papers. Of course, Stephen thrives and overcomes each obstacle, even the loss of speech, to become the renowned theorist he is today, but Jane has issues which she glosses over in order to take care of Stephen. It's been a little controversial how the film doesn't spend as much time on Hawking's actual scientific revelations, as some critics have complained how the love storyline overshadows it. Personally, I'm all for it, and thanks to having a good number of scenes in which said theories are explained and revealed to the general public it does give a good amount of focus on it. That being said, you wouldn't be able to withhold your interest for a 2 hour film in which Stephen just comes up with his ideas on relativity, plus you'd be at risk of alienating audiences by keeping it strictly to science. By playing it as more of a secondary storyline, albeit a prominent one, it opens itself up for larger audiences and bigger praise - and it does to maximum effect, as it creates a great film.
The big celebration for the film comes from Eddie Redmayne's performance, as his character's condition grows worse and worse throughout the film and Redmayne adapting to each physical change, and that celebration is rightfully given. Even during the very early stages of the film there are subtle hints to the issues that are to come, and it's underplayed so well that it would be unnoticeable if you weren't aware of the subject matter. And when it becomes front and centre, it's all the more brilliant, with Stephen eventually having to respond as though he were Gromit from Wallace and Gromit (that is, before his speech returns to him). In the battle of the best British Male Actor in all these award ceremonies, it's certain that Redmayne deserves each and every win he gets. But behind his genius is Jones, who may be overshadowed in her own story is portrayed so well that she deserves mentioning for she is the film's rock. She helps induce every emotional scene with poignancy and her every action is right and acceptable, even with the final result. For a newbie Hollywood actor who's biggest role beforehand was practically a cameo for The Amazing Spider-Man 2, she has risen above the rest to lead the way for excellence. Side roles include future Daredevil Charlie Cox as family friend Jonathan, David Thewlis as mentor Dennis Schiama, Maxine Peake as Hawking's helper Elaine Mason and Harry Lloyd as the fictional roommate Brian - a pity, as he and the others are all so marvellous that him being a figment of the writer's imagination feels almost wrong. Some characters do come and go, but each leaves their mark and there isn't a single bad egg.
The most surprising thing to come out of The Theory of Everything isn't its direction, which James Marsh does excellently, but its screenplay is not only sweet, but at times oddly humourous (I don’t say that just because of the Doctor Who references). It hits you when you least expect it, and rather than come across as forced or unneeded, it lightens the mood as you remember that these characters are still human; even in this situation you can still crack a smile and have a good laugh, and to the film's credit it makes these characters feel all the more real.
If there were any complaints to make about The Theory of Everything, they would only be little nitpicks, such as the sudden disappearance of the Hawking children during the third act, for it is an excellent film. From its performances to its screenplay to its direction and its overall heart, The Theory of Everything could be described as near-perfect. Perhaps it won't be a revisitable experience, but for now it is a glorious feature. 10/10.
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