What a horrific mess. A film fundamentally flawed by its not knowing, to put it mildly, what it wants to be or what it is trying to say. Based on David Ebershoff’s 2000 novel of the same name and adapted for the screen by Lucinda Coxon (‘Wild Target’ 2010), this loosely tells the true story of Danish painter Einar Wegener, who goes through a, long buried, crises of identity – suddenly now convinced he is a woman trapped in a man’s body. One would naturally assume this is really a mainstream attempt to portray a strong and explorative transgender theme on the big-screen, and that we would identify with Wegener’s plight and confusion on a human level, but we really, really don’t – in fact he just comes across as clinically insane, which he is diagnosed as at one point by ‘evil’ practitioners of medicine but actually they seem to be quite correct; he has been, for example, banging away quite happily at his young nubile wife Gerda Wegener (Alicia Vikander) for six or seven years and now suddenly he refuses to even acknowledge this happened and recoils from her, as if every aspect of his previous existence that he can’t be bothered with is now taboo.
If he isn’t psychotic then he’s the most vain, self-absorbed obnoxious little shit one could have the misfortune to marry, as his ‘crisis’ justifies him doing whatever he wants – including cheating on his wife with various men. Eddie Redmayne plays Einar and by God is he terrible here – you would be hard pressed to find a worse example of overacting anywhere, as he cries and cries and whimpers and pretends to be injured (he gets beat up for no apparent reason, oh, and he decides he’s having his period as well at one point) something which he has effectively made a career out of doing. If we look at the header picture above I think even I would make a more convincing human female – although the film at least partially acknowledges this failure, or seems to at any rate, until near the end where people seem to genuinely believe he passes for a woman. The film in general smacks of this kind of insincerity throughout – Oscar bait with a modern-day politically charged topic, and I imagine any endorsement from the transgender community is purely down to lack of many other options.
Tom Hooper directs and to be fair he almost completely avoids having the camera too close to his performers’ faces after ‘Les Miserables‘, and a lot of his shots of countryside and the framing of scenic cityscapes are great; it’s really the story and acting that destroy the film, as melodrama takes an enormous bite out of history in their misguided creepy crawl in the direction of awards season glory. It’s a shame, there was a lot of potential to explore the subject – and indeed in the film’s frank portrayal of nudity there begins to form the semblance of something greater, before it all disintegrates in the second act. Also with Amber Heard, who’s dancing scenes were reportedly cut from the film. Fuck’s sake.