THE THEORY OF EVERYTHING

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THE THEORY OF EVERYTHING is a well-acted but ultimately banal biopic of the famous physicist Stephen Hawking (Eddie Redmayne) as told from the perspective of his first wife Jane (Felicity Jones).  As it opens, the young couple meet at Oxford University in the 1960s and are immediately smitten with each other.  Almost simultaneous with their courtship over the first half hour of the film is the discovery that Stephen suffers from Motor Neurone disease with perhaps only two years left to live.  It is testament to Jane's courage that she refuses to be shut out of Stephen's life and drops her own studies to marry him, raise his children and nurse him as he makes his reputation as one of the great scientists of our age.  But as we move into the second half of the film, while they both clearly still love each other, the cracks are starting to show.  Jane, who has always been religious in contrast to Stephen's atheism, falls in love with her Church choir leader, an earnest widower who becomes a kind of surrogate husband and father with Stephen's apparent blessing.  And then Stephen, forced to have a tracheotomy, and before he gets the computer voice we have come to associate with him, falls for his physical therapist.

London Film Fest Day 14 - GLORIOUS 39

Stephen Poliakoff is a well-respected British play-wright and some-time film director, and the cast of Glorious 39 is filled with great British actors - from the young and talented Romola Garai and Eddie Redmayne, to stars Jeremy Northam, Julie Christie and Bill Nighy. How disappointing, then, to find his new World War Two political thriller to be poorly made, poorly acted, poorly written and patronising to boot.

The story is set in the weeks before England went to war with Germany - the glorious summer of 1939. The adopted daughter (Romola Garai) of a wealthy aristocratic family (Nighy, Agutter, Redmayne, Temple, Christie) discovers that the British government is hiding recordings of meetings in her family's rambling country estate. They give evidence that certain elements within the British establishment are so afraid of another war, and so convinced that they can't win it, that they are preparing to negotiate a secret surrender to Hitler before the war has even begun. (All true, as it happens). The movie is a thriller, wherein the daughter uncovers the who the voices are on the record, and tries to smuggle it out to people who can use it to bring down Chamberlain's government and bring Winston Churchill to power.

All this could've been the stuff of a superb thriller, in the manner of ENIGMA. But this film lacks context. We never see the politicos, the military and the aristos arguing over the future of Britain. The stakes are all rather academic, and explained in a very patronising manner by characters played by David Tennant and Hugh Bonneville. Stephen Poliakoff seems to be assuming that his audience won't know anything about World War Two. What we are left with is a melodrama centred on this rich family who motor around the countryside and attend nice parties. The siblings are vaguely sinister, and there is a spooky looking government man, but no real sense of tension. I spent much of the movie being annoyed at the heroine for taking her time. If you found the 1939 equivalent of the Watergate tapes, wouldn't you just jump in a car and take it straight to the opposition party? Why all the listening, carrying in handbags and re-listening? Why the comedy, Agatha Christie style bumping off of minor characters?

Still, for all that, the movie is vaguely interesting for the first hour. Where it really comes off the rails is in the final hour. The heroine finds out who is plotting against her and is captured. At that point, the performances and writing veer into B-movie melodrama. It's truly risible and basically unwatchable. We then squelch into a final act, where the enemies, so ardent in hunting her down, just let her slip off, and a final scene in which we're meant to acknowledge her as a true hero of the war. But she never actually does anything!

What a waste of talent.

GLORIOUS 39 played Toronto 2009 and opens in the UK on November 20th.

STARDUST - as charming as THE PRINCESS BRIDE

High praise indeed for a film based on a novel that I didn't particularly like. I've always found Neil Gaiman astoundingly good at creating new worlds with magic rules but less good at creating gripping plots. But this film somehow gives the novel, STARDUST, the sense of excitement and pace that I had found lacking in the book.

Gaiman's conceit is to make a grown-up fairy-tale in which a Victorian villager called Dunstan crosses the Wall into a magical kingdom called Stormhold and has proper sex with an enchanted Princess. Nine months later, a son, Tristan turns up. Years later, Tristan (Charlie Cox) promises to fetch a fallen star from the other side of the Wall to impress the village coquette, Victoria (Sienna Miller). Little does he expect to find that the fallen star is in fact a beautiful independent girl called Yvaine (Claire Danes.) Tristan vows to take Yvaine to Victoria before helping Yvaine return to the sky. But an evil witch and a heartless prince have other plans. The witch (Michelle Pfeiffer) wants to eat Yvaine's heart and so regain her youthful beauty. The prince (Mark Strong) wants Yvaine's necklace in order to regain his crown.

STARDUST has everything you want from a fairy-tale. True love, though not in the most expected place, sword-fights, evil princes, tricky witches and derring-do. It's wonderfully designed, beautifully imagined and a lot of fun. As cynical as I am, it's great to believe in a hero like Tristan who is just a decent ordinary sort of chap. And both Charlie Cox and Claire Danes are the sort of actors with whom its a pleasure to spend time. They are so amiable! Other good things include a wonderful role for Robert de Niro as a closeted pirate and Ricky Gervais as, well, David Brent in a silly hat. If I had to find a complaint it would be that Michelle Pfeiffer cannot sustain a credible English accent, in contrast to the flawless Danes. More fundamentally, the studio loses the rumpy-pumpy that made this a different kind of fairy-tale in the first place. I guess the sex didn't fit with the target demographic......

STARDUST has already been released in Russia, Canada, the US, Egypt, South Korea, the UAE, Kuwait, Mexico, Australia, New Zealand, Norway, Hong Kong, Israel, Croatia, the Czech Republic, Portugal, Slovakia, Bulgaria, the Netherlands, Slovenia, Thailand, Colombia, Finland, Iceland, Sweden, Turkey, the Philippines, Argentina, Hungary, Brazil, Denmark, Italy, Poland, Japan, Germany, Estonia and the UK. It opens in Belgium, France, Greece, Spain and Japan later in October and in Singapore and Taiwan in November.