Respond to these rapid questions in our The Danish Girl quiz and we will tell you which The Danish Girl character you are. Play it now.
Is it possible for a movie to be expertly crafted in every way—with a great cast, powerful performances, flawless production design, and gorgeous photography—yet still fail to engage you emotionally? Can it fulfill all of its technical obligations without making an emotional connection with you? Can you have an experience that is different from who you normally are without being altered in any way? This is exactly the dilemma that “The Danish Girl” presents.
Tom Hooper, the director of the film, plays it shockingly safe despite the fact that he is telling the story of real-life artist Einar Wegener (played by Eddie Redmayne). Wegener was the first-known person to undergo sexual reassignment surgery nearly a century ago when he transformed himself into Lili Elbe. As was the case with “The King’s Speech,” which won an Academy Award, and “Les Miserables,” Hooper’s most recent film is tasteful and restrained to an unacceptable degree. Admiration comes more naturally than love does. And it’s entirely possible that this was done on purpose. Possibly, in adapting Lucinda Coxon’s script, which was based on David Ebershoff’s novel about the Danish landscape painter working in the 1920s, director Tom Hooper aims to reach the widest possible audience by presenting such potentially challenging material in the form of a lush prestige picture.
To use a phrase that is derogatory but apt, “awards bait,” it’s possible that the thinking behind this is that the vast majority of people would be more likely to watch a movie about a transgender character if it were offered as awards bait, rather than a scrappy little independent film like “Tangerine.” The struggles that transgender people have gone through have been brought to the forefront of consciousness and conversation like never before in the past year as a result of both of these movies, as well as the Emmy-nominated television series “Transparent,” and the well-documented saga of Caitlyn Jenner. Although “The Danish Girl” might appear to be zeitgeisty due to its impeccable timing—which might sound cynical at first glance—it is abundantly clear that the film’s motivations are entirely honorable.
When it comes to matters of the heart, however, “The Danish Girl” is more likely to win over the intellect. There is some striking imagery that will surely grab your attention, such as tutus hanging backstage at the ballet, illuminated from below like tulle jellyfish, or the crisp symmetry of immaculate, identical row houses shot in widescreen. Both of these images are sure to grab your attention. Einar takes advantage of a rare opportunity to test his mettle by going to a peep show to imitate a stripper’s dance moves. As a result, the two of them end up engaging in an impromptu sort of dance through the glass. A sheer sheet that hangs between Einar and his wife Gerda (Alicia Viklander) at bedtime, providing a physical separation, or a scarf blowing away in the wind as Alexandre Desplat’s score soars with it are two examples of the numerous images that are rather obvious and straightforward in their symbolism.
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On the other hand, the excellent “Tangerine,” which may appear to be an intimidating prospect: The film, directed by Sean Baker, is about a pair of trash-talking transgender prostitutes who are tearing through the streets of Hollywood on Christmas Eve. The film stars actresses who have never acted before, and it was shot entirely on an iPhone. However, it actually winds up being the more approachable of the two films; it has an immediacy and a vibrancy that “The Danish Girl” sorely lacks, in addition to a genuine sense of emotional connection. These qualities make it the more accessible of the two films.
Even though both Eddie Redmayne and Alicia Vikander, who star in the movie, give deeply committed performances, this is not the fault of the actors. However, one of their portrayals is more impressive than the other. Redmayne has demonstrated that he is a technical master of transformation, and it is easy to see why the Academy Award for best actor went to him for his precise performance as Stephen Hawking in the film “The Theory of Everything” from the previous year. Once again, he is portraying a real-life figure who goes through a physical change that puts a strain on his marriage and forces both partners to reexamine their shattered bond, despite the fact that it is obvious that they still love each other. In this role, he is playing the role of a real-life figure who went through a physical change that put a strain on his marriage.
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Hooper, who is working with his regular cinematographer, Danny Cohen, luxuriates in Redmayne’s androgyny as Einar gradually transforms into Lili. This is done while the director is working with Cohen. (Just look at those cheekbones! Whoa, those lips! Those slender and graceful limbs!) The costumes from the Jazz Age that Paco Delgado designed are absolutely decadent, not only for Eddie Redmayne but also for the rest of the cast as a whole. However, the film presents this multifaceted character in a manner that is primarily one-dimensional. The character devolves into a collection of mannerisms and proclamations because we are never given a clear explanation of what, exactly, compels Einar to become Lili in every way, despite the risks involved both physically and socially. She was certainly brave, but having a better understanding of the motivation behind and the extent of her bravery would have helped her feel more like a fully realized person who was deserving of more than just polite appreciation.
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The narrative that Vikander brings to the role of Einar’s wife, Gerda, is the one that really grabs your attention. Gerda is also a painter, but she has always been overshadowed by her husband’s reputation. It isn’t until she asks Einar to pose for a portrait of a ballerina that she gets her first glimpse of Einar’s softer side. Gerda is the one whose emotional arc is more compelling, despite the fact that Einar is the one who undergoes physical transformation. She is in the precarious position of having to be the rock while also evolving with an ever-changing situation. This gives her more opportunities for shading, but it is also a difficult position for her to be in.
Playing dress-up at home eventually inspires them to enjoy lavish evenings among their friends in Copenhagen, just the two of them going out on the town. At first, she is accepting of Einar wearing lingerie under his suits and even a little turned on by it. But as it becomes more and more apparent that “Lili” is not merely a persona but rather an expression of Einar’s true self, Gerda is forced to come to terms with the fact that everything that she has known to be secure and true is crumbling beneath her feet.
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At the same time, her career as a portrait artist is finally flourishing, and the maturing Lili is serving as her muse throughout this time. When old friends like Matthias Schoenaerts and new friends like Ben Whishaw enter the equation to lend support in various forms, they further complicate the situation.
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Vikander, who’s been on such a roll this year already in two extremely different films—the exquisite “Ex Machina” and the glossy romp “The Man From U.N.C.L.E.”—makes every moment of her character’s journey believable with great nuance, from her strength and optimism to her confusion and loneliness. Her performance in “The Man From U.N.C.L.E.” is particularly noteworthy. Her directness, in addition to the lovely delicacy she exudes, is another of her endearing qualities.
The title alludes to the transformation that Redmayne’s character goes through to make his outsides match his insides (to borrow a line from another recent beautiful but chilly domestic drama, Angelina Jolie Pitt’s “By the Sea”), and the title itself is a reference to the film’s title. However, it’s possible that Vikander will turn out to be the film’s real standout.
For more personality quizzes check this: The Wild Life Quiz.