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“The Theory of Everything,” a drama about the life and love of physicist Stephen Hawking (Eddie Redmayne), is just the sort of movie one would expect to see amid Oscar season, complete with period costumes, fact-based figures and a hero with a debilitating affliction. It’s a shame that the lives of so many incredible people have become diluted fodder for films that follow a trophy-hungry formula, and fall within a three-month period that, because of these routine compromises, has become nearly as cookie-cutter as our blockbuster-laden summers.
That’s not to say that “Theory,” directed by gifted documentarian-turned-narrative-filmmaker James Marsh, is as wholly disheartening as, say, the “Transformers” franchise. But in its way, the film — much like this year’s Alan Turing biopic “The Imitation Game” — is just as insulting, pandering to a stuffy, stereotypical Oscar voter instead of a stereotypical dude who loves noise and big boobs. There’s affecting emotional nuance to be found in “Theory” (Redmayne and costar Felicity Jones, who plays Hawking’s devoted ex-wife, Jane, know just how to punch one’s heart when they gaze in each other’s eyes), but there’s barely a hint of surprise.
Nor is there much of an illustration of Hawking’s genius. Now 72, the man, who’s responsible for ample fancy theorems involving gravity, black holes, time and relativity, is never truly explored so one can appreciate his successes. Evidently afraid that the mathematics would scare off viewers, Marsh and writer Anthony McCarten merely skim the surface of Hawking’s mind to zoom in on his heart instead. The Hawkings’ relationship was a strong one worthy of celebration, but when the good doctor’s motor neuron disease finally starts to take his vocals, Jane’s role as his stand-in voicebox feels less like an act of love than one of getting the audience caught up.
Redmayne is being hugely hailed for his work, which sees him portray Hawking’s deterioration from one shaky hand to a permanent perch in a wheelchair. The actor’s career will deservedly soar after this, but his performance is hard to love, and it doesn’t change the sense that Hawking’s merits, here, are as intangible as his subjects of study.
The Theory of Everything
PG-13 One-and-a-half reels out of four Now playing at the Ritz Five
Recommended Rental
The Skeleton Twins
R Available Tuesday
Bill Hader and Kristen Wiig are tragically fabulous as depressed siblings in the dark dramedy “The Skeleton Twins,” which follows a suicidal brother and sister as they attempt to clean up each other’s messy lives. Just messy enough to feel cinematic, but deeply resonant, the film benefits immensely from Hader and Wiig’s rapport, which hits its peak during a lip-sync duet that’s not to be missed.
Contact the South Philly Review at editor@southphillyreview.com.
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