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The film “The Theory of Everything” is a biopic about one of the most brilliant people in the history of the planet, the renowned astrophysicist Stephen Hawking – a man famous for thinking in boldly innovative ways – but his story is told in the safest and most conventional method imaginable. This is both a sad and frustrating irony, because it is a film about one of the most brilliant people in history, and yet it fails to do him justice.
This is ironic considering the director is James Marsh, who won an Oscar for his work on the documentary “Man on Wire” in 2008. That film was so exciting and so inventive in its narrative structure that it gave you the impression that you had actually seen Philippe Petit walk across a tightrope between the World Trade Center Towers. (No, you didn’t – the documentary only includes still photographs and reenactments of Petit’s daredevil stunt rather than actual film footage of Petit performing the stunt. That should give you an idea of how persuasive Marsh can be.)
However, despite the fact that the film is beautifully shot and features a stellar cast, the overall experience is uninspiring and unsatisfying. It falls into the trap that so many biopics do: It hits all the key moments in the life of the author of “A Brief History of Time,” and it skims the surface of a complicated existence without digging deeper or taking chances. However, it does hit all the key moments in the life of the author of “A Brief History of Time.” Everyone who should have been involved does what they should have done, and the outcome is just about fine.
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The manner in which Stephen Hawking has fought motor neuron disease for the past half-century and defied the odds not only to survive, but also to thrive, is, without a doubt, an inspiring tale to tell. Eddie Redmayne, who plays Stephen Hawking, is more than up to the challenge of portraying the man’s gradual physical deterioration while also conveying the spark of mental acuity that has remained and marked all of Hawking’s significant work. In fact, Redmayne more than rises to the challenge. Nothing that the 32-year-old actor has done in the past, including “Les Miserables” and “My Week With Marilyn,” has suggested that he is capable of displaying this level of complexity. The performance is so impressive that it makes one wish that it had been put to use with a more powerful substance.
The screenplay for “The Theory of Everything” was written by Anthony McCarten, and it was adapted from “Travelling to Infinity: My Life With Stephen,” the memoir written by Jane Hawking, who was Stephen Hawking’s first wife. It seems as if everyone wanted to be overly respectful toward these people, and their life, and the access they provided, at the expense of revelations that might have seemed inappropriate or shocking or, heaven forbid, thought-provoking. This general feeling of tastefulness permeates the proceedings, as if everyone wanted to be overly respectful toward these people.
The love and support that we see from Jane Hawking never stops; as portrayed by a young-looking Felicity Jones, Jane is a woman who possesses both grace and strength. And what she went through in trying to focus on her own intellectual pursuits while also raising their three children and taking care of him must have been exhausting and often discouraging. It must have posed the danger of consuming her in its entirety. We don’t see very much of that around here. This Jane is a very holy person.
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However, the early scenes involving Redmayne and Jones have an electric energy to them. When they see each other for the first time across a crowded room at a party in Cambridge in 1963, there is an instant connection between them. She is beautiful and bubbly, while he is clumsy and hilarious. He is a student of cosmology, and she is a student of medieval poetry in Spanish. While he does not believe in god, she is a devoted member of the Church of England. However, they appear to stimulate one another’s natural curiosities and bring out the best in one another. During the beginning stages of their relationship, there is a sweet moment that involves a little-known property of the Tide laundry detergent.
Everything appears to be within reach for these two young and brilliant minds until Hawking has a string of increasingly clumsy moments, followed by a serious fall in the courtyard of the university. Then, at the age of 21, he receives the news that he has motor neuron disease, also known as ALS, which is more commonly referred to as Lou Gehrig’s disease. The physician estimates that he has only two years left to live. Jane is determined to be a part of Hawking’s life and doesn’t let him get away from her easily. She pushes her way into his life and insists that she is prepared for anything that may come their way. They wed almost immediately, and went on to have three kids in total.
But despite the fact that Stephen’s body is deteriorating and that his family must make constant adjustments to his physical condition – including the well-known computerized voice that he creates when he is no longer able to speak, which is the source of some of the film’s precious few laughs – Stephen’s mind continues to be as sharp as ever. He continues his search for the one equation that will explain everything there is to know about the universe while maintaining its simplicity and elegance. (It should also be mentioned that “The Theory of Everything” is one of three movies that will be released this week, along with “Interstellar” and “Big Hero 6,” in which black holes play a significant role.) In a manner not dissimilar to that of our own cherished Roger Ebert, Stephen Hawking’s mind became even more expansive and potent as he began to lose the ability to use his body.
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When it became apparent that Jane and Hawking’s marriage was beyond repair, “The Theory of Everything” reached a point where it began toying with a challenging notion: the possibility that Jane and Hawking each had dalliances on the side with the tacit approval of the other, once it became clear that their marriage had become irretrievably broken. Jane sought solace with Jonathan Hellyer Jones (Charlie Cox), the hunky, widowed choir director with big, brown puppy-dog eyes who served as Hawking’s caretaker and the family’s de facto husband and father figure. Jonathan was also the choir director for Jane’s church. Later on, Stephen Hawking had the pleasure of spending time with the stunning and vivacious therapist Elaine, who was played by the magnetic Maxine Peake. Elaine flirted with Stephen and even flipped through the pages of a Penthouse magazine for him to read.
However, these extramarital relationships and how they were resolved are swept under the rug in the movie, and there is very little drama or emotional strain as a result. It moves cautiously toward the flames before quickly retreating again. It is unfortunate, but it serves as a metaphor for the entirety of the movie.
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