Eddie Redmayne
Felicity Jones
Charlie Cox
Emily Watson
Simon McBurney
David Thewlis

Anthony McCarten

123 mins.
Biography, Drama, Romance
November 26, 2014

Rated PG-13 for some thematic elements and suggestive material. (MPAA)

“The Theory of Everything” is a fairly conventional biopic. It reminds me of “A Beautiful Mind,” but without the ravages of mental illness. This time we witness the ravages of motor neuron disease. Furthermore, the story doesn’t jump off of the screen in the way that it did in “A Beautiful Mind.” But that doesn’t mean that this film doesn’t work. It has a gentler, subtler approach that I appreciate. After all, the story is gentler and subtler. Eddie Redmayne does a wonderful job as Stephen Hawking. We witness his gradual loss of motor function: barely perceptible at first. In the beginning, Redmayne’s hands don’t seem quite right. For instance, the way that he places them on a bar counter just seems a bit off. That kind of thing would be easy to miss, but director James Marsh is sure to frame his shots in a way that brings attention to it. Despite that, you could still miss it if you’re not careful. Then the hands get worse, and the feet, and so on. Hawking retains his sense of humor throughout, much to the chagrin of his loved ones, at times. Redmayne masters the physicality and vocality of that transformation.

There’s a bit of magic to this film, as well, when Hawking either thinks about or describes the universe. Marsh reverses the swirl of milk in a coffee cup to mirror Hawking’s thoughts about what would happen if he theoretically reversed universal time. When Hawking gets stuck in his sweater, he sees a fire in his fireplace through the fabric. Marsh uses that as an opportunity to give us a glimpse of what Hawking sees: what a black hole must look like. Hawking’s eyes are manipulated to mirror its activity. A memorable scene, early in the film, features people dancing on a floor lit by ultraviolet light – Hawking uses that as an opportunity to discuss the births and deaths of stars with his love interest, Jane Wilde (Hawking’s eventual first wife, who supports him through his physical decline). As Wilde, Felicity Jones is the perfect complement to Redmayne. The pair really seem to be interested in each other; they have a nice chemistry. And that chemistry is the heart of this film. It wouldn’t work without that, because their relationship is this film’s focus. (The ending montage highlights this. The film reverses itself to provide snippets of scenes we’ve just witnessed, ending at the scene when Stephen and Jane first meet.) Redmayne and Jones don’t have a lot of scenes to establish that relationship, but they make the most of the ones available to them. The way that they smile at each other is enough to get the point across.

But the happiness doesn’t last. Jane begins to feel the weight of taking care of Stephen and their children. Her studies (she has Ph.D. aspirations, too) suffer. Her mother, played by Emily Watson, suggests that she take an hour per week to sing in the church choir. The director of the choir is Jonathan Jones, a young widow. Uh oh. Jane invites him for dinner. The scene at the dinner table is one of the highlights of the film. We can feel the tension in the room – everyone’s desires are clear without being spelled out. Plus, Hawking’s sense of humor shines through as he debates the choir director on the existence of God. Felicity Jones also has a moment when she expertly explains Hawking’s theories ostensibly to Jonathan, but it’s really for the audience’s benefit. She uses peas and potatoes to do so. Early on, we know where Jane and Jonathan will end up. Jonathan takes care of Stephen and the couple’s children for some time, allowing he and Jane to get closer and closer. Later on, Stephen develops a relationship with his “proper” nurse. This is no surprise; we see it coming a mile away.

“The Theory of Everything” doesn’t simply orbit Redmayne. It relies heavily on Felicity Jones’ performance, as well. They both rise to the occasion. Their supporting cast is strong, too. However, there are peaks and valleys in this film. It isn’t as consistent as it could be. There are scenes that are truly insightful and creatively shot (the cinematography is expert), but there are other scenes that could be found in any standard biopic on television. (Of course, this has higher production values, though.) This isn’t a major concern, but it does hold the film back from greatness. It’s a good biopic in an overcrowded genre.

Verdict: Good, with Very Good Moments

About: (Source: thetheoryofeverything)

Starring Eddie Redmayne (“Les Misérables”) and Felicity Jones (“The Amazing Spider-Man 2”), this is the extraordinary story of one of the world’s greatest living minds, the renowned astrophysicist Stephen Hawking, who falls deeply in love with fellow Cambridge student Jane Wilde. Once a healthy, active young man, Hawking received an earth-shattering diagnosis at 21 years of age. With Jane fighting tirelessly by his side, Stephen embarks on his most ambitious scientific work, studying the very thing he now has precious little of – time. Together, they defy impossible odds, breaking new ground in medicine and science, and achieving more than they could ever have dreamed. The film is based on the memoir “Travelling to Infinity: My Life with Stephen,” by Jane Hawking, and is directed by Academy Award winner James Marsh (“Man on Wire”).