THE THEORY OF EVERYTHING (PG-13)
Released by Focus Features
Review by Adam Mast
THE THEORY OF EVERYTHING is a clinic in virtuoso acting. Seriously! The performances are so good here that you’ll forget that the writing is sometimes a tad conventional.
THE THEORY OF EVERYTHING traces the life of renowned physicist Stephen Hawking (played by Eddie Redmayne) from his humble beginnings as a genius college student, to his lengthy battle with ALS, to his bid for iconic status in the scientific field. But the crux of the movie revolves around his sometimes rocky but always soulful relationship with dedicated wife Jane (played by Felicity Jones).
Perhaps a better title for this movie would have been THE THEORY OF ALMOST EVERYTHING as this story doesn’t really delve too deeply into Hawking’s complex scientific theories or his celebrity. It skims over these plot points, instead opting to show us that perhaps love was the true key to his perseverance and survival. In short, this film is sort of like INTERSTELLAR without all the space travel.
They say that behind every great man is a woman and THE THEORY OF EVERYTHING is certainly no exception to that analogy. In many respects, this movie is every bit about Jane as it is about Hawking. Even when things got tough, Jane stayed by her husband’s side. Of course, THE THEORY OF EVERYTHING doesn’t shy away from delving into the more complex aspects of this most complex relationship.
It would be hyperbole to call Redmayne outstanding here. As THE THEORY OF EVERYTHING opens, we see Hawking as a slightly awkward young man, but at the very least, he has control of his faculties. Once the illness takes hold, Redmayne’s performance goes from great to positively stellar, and it isn’t simply the physicality of what he does (the contorting of the body, the speech patterns, etc.), but the emotional complexity of it as well. This is a man who ultimately becomes a prisoner in his own body, and Redmayne delivers a turn that ranks up there with the likes of Lewis in MY LEFT FOOT, Amalric in THE DIVING BELL AND THE BUTTERFLY, and DeNiro in AWAKENINGS.
The gorgeous Felicity Jones is every bit as vital to this picture as Redmayne is. While her role is less showy, she digs deep to create a portrait of a woman whose tenacious spirit and unwavering support bring a real sense of humanity to this movie. But THE THEORY OF EVERYTHING doesn’t simply present Jane as this strong woman. She is, after all, only human and the relationship at the heart of this movie does eventually take its toll on both she and her husband. It’s a testament to Jones’ commitment to this role that we feel Jane’s triumphs as well as her pain every step of the way.
While THE THEORY OF EVERYTHING is about the Stephen/Jane relationship, there are terrific supporting performances here as well. Charlie Cox is wonderfully appealing in this movie. As a church choir director who becomes a caretaker for the Hawkings, Cox pulls off a rather complicated dynamic as a sincere man whose compassion ultimately outweighs his true desire. It’s an effectively subtle turn that adds yet another layer of humanity to the proceedings.
THE THEORY OF EVERYTHING was adapted by Anthony McCarten and there are moments throughout this picture when the proceedings do become a little conventional. Hawking’s big speech at the end of the film has a schmaltzy A BEAUTIFUL MIND final speech ring to it. In fact, there are several moments during THE THEORY OF EVERYTHING that I was reminded of that Ron Howard directed Oscar winner. Not that I mind. I happen to be a fan of A BEAUTIFUL MIND so no harm, no foul.
Conventions aside, there are a couple of elements that make up the final act of this movie that rubbed me the wrong way. There’s time reverse sequence that made me roll my eyes a bit, and I couldn’t help but feel that Jane got the shit end of the stick in some ways, but given that this is based on a true story (written by Jane Hawking, no less), that might not be a fair argument.
THE THEORY OF EVERYTHING was directed by documentarian James Marsh (PROJECT NIM and MAN ON WIRE) and he has quite the meticulous eye. Look no further than a scene where a frustrated Hawking must watch on as a handful of dinner guests use utensils to eat their food with effortless ease while he struggles to feed himself. Powerful stuff.
Where Marsh truly succeeds though, is in his ability to create an environment where Redmayne and Jones can breathe life into this compelling, real-life couple. These brilliant actors deserve all the recognition that’s coming their way. They alone make THE THEORY OF EVERYTHING well worth watching.
