THE THEORY OF EVERYTHING – The Review

A more appropriate title for THE THEORY OF EVERYTHING could be “The Theory of Love,” or better yet “The Theory of What Draws One Person to Another.” Chemistry, evolution and science play a large part in this romantic tale of star-crossed lovers but not in a way that you would assume given the man behind the story. How love evolves and changes is more of the basis for this story looking at the life of Stephen Hawking. Those hoping not to sit through a college course on the Big Bang Theory and quantum physics can breathe a sigh of relief. However the fact that so much of Hawking’s theories are brushed to the side in lieu of his personal drama may leave some who are fascinated by the mind of the celebrated physicist scratching their heads.

As an adaptation of Jane Hawking’s novel, THE THEORY OF EVERYTHING achieves a momentous success as being a biopic that is elevated to something more due in large part to two outstanding performances. Felicity Jones gives the best female performance I’ve seen all year. Her big doll eyes carry so much weight and emotion that we can see her internal struggle as she tirelessly cares for Stephen both physically and emotionally. Cinematographer Benoit Delhomme showcases the physical exertion that Jane is put through as she juggles Stephen and a number of bouncing children. As if that wasn’t enough for her to cope with she then deals with a new medical assistant to Stephen that seems to be getting too close to the doctor.

The film deals with the idea of infidelity in their marriage in a very timid manner. Nothing is exactly shown even though some implications are made. This sort of restraint is frustrating from a narrative perspective but most likely reflects what Jane Hawking wrote in her book. I doubt she is going to openly admit to any affair during her marriage to Stephen and likewise she only assumes something is going on with one of his assistants. It’s a sly game that the film plays with these characters. You could almost say that the film paints Jane in a more forgiving light because she doesn’t stand in his way or try to complicate his professional success. However, as evident in one particular scene, they gloss over Jane’s camping trip with her music instructor turned friend in a way that feels a little too sly in my book. I understand her need for love in all its forms, but they may paint her in too much of a saintly light.

Eddie Redmayne gives a performance that might finally elevate his career out of the secondary parts he usually plays. You never feel you’re watching an actor perform as he truly lives and breathes this demanding role. It almost becomes effortless as he captures the facial ticks, smile, and speech pattern of Hawking. Not to mention, he had me in tears several times through this emotional journey. A simple scene of a family trip to the beach and seeing the waves splash onto his paralyzed feet broke me into pieces. I’m not sure I teared up more in any other film this year – that means maybe bring a Kleenex or two.

Director James Marsh takes the audience on a beautiful and moving journey with THE THEORY OF EVERYTHING. Stephen and Jane’s life together over the years is brought to life perfectly as the film treats the passage of time in an easy and carefree manor. We see age makeup, new kids, and other minor changes in fashion and such to indicate that time has passed, but director James Marsh doesn’t get hung-up on trivial details so that the evolving relationship between the couple becomes the main focus. Redmayne and Jones take the audience on a journey of the heart as opposed to the mind. I would have liked more of a balance between the heart and the mind myself, but I’d be remiss if I didn’t say I believed in the poignant theory that was presented to me.

OVERALL RATING: 4 OUT OF 5

THE THEORY OF EVERYTHING opens in St. Louis on Friday, November 21