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The Danish Girl

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The story could have been very dramatic and deeply touching, as it is a true story of both the internal conflicts of a man and the deep love of a woman to her partner. Unfortunately the meticulous attention to image rather than screenplay (to me) resulted in a quite cold and un- engaging movie, where beautiful costumes, interiors and landscapes are the only highlights. I found that even the acting of the brilliant young Eddie Redmayne was not that good, as his constant smiles and shy blinking eyes after a while seem to be the only stratagem he has to portray such a complex character (and after the first dozen of them I couldn't stand it anymore). A more sophisticated psychological portrait of the main character and a more dramatic rendition of his/her troubled soul would have given more solidity to a movie which seems too superficial.

In this spoiler-free review, I hate to say this, that the only little good thing about this movie was Eddie's performance which made the movie a little better. BUT DO NOT GO WASTE YOUR MONEY ON THIS movie. Movie clearly lacks a sense of writing and horrible direction. But I tell you you can save the money for a real movie in a few days, like Star Wars VII, or The Revenant. This movie was absolutely entirely horrible. I went to the cinema very excited like I should have been, wondering if the new Eddie Redmayne movie will be better than his previous one(The Theory of Everything), which was a great masterpiece! But the movie was tedious and boring all through out the hours, no excitement and Eddie was clearly not as good as he was in his previous movie, but he was good enough to make me at least RATE this movie a one star.

I saw the film and thought that the director Tom Hooper(The King's Speech) did not understand the character of Lili. In the beginning we see Einar(Eddie Redmane) as a happy and successful painter living with his wife and we have no idea that he is a transgender. I found that out when his wife puts make up on him and he puts on women's clothes. Thats where the problem started for me. People who are transgender or gay/lesbian donot become transgender if someone else puts lipstick on their lips or get them to wear female clothing. They are human beings going through the identity issues since childhood. They live a very depressed life and they are little different than normal people. I wish the director had done some homework and met some of these people to know what they went through. Neither did the actor Eddie Redmane made the effort to meet some transgender people and do some research. Actors get the script and they just jump into playing a role without doing homework. I was trying to like the film but when the wife gets him ready to go to the party and dresses him as a woman and then later she gets really upset and mad because another man was sitting with Lily and getting close, it totally threw her off. That does not make any sense. The wife made her husband vulnerable and now she is all upset. Lily says at one point she believes she is a woman inside and wife says that she believes it too. How can she believe that, she is not the one going through these feelings and emotions which Lily is experiencing. Then Lily was crying so hard when he was about to get the surgery but right before that scene he was all happy with the surgery. The actors did put some emotions into the film but the story was not developed and we did not have any antagonist. Eddie Redmane is a good actor as I saw him in 'The Theory of Everything'. He should be selective of roles and must do home work and research if he takes on to do these important characters. I am giving it 3 stars because the cinematography was beautiful and Alicia Vikander and Amber Heard had some good talent which can be utilized in another stronger film.

With the transgender movement heavily in the media with figures like Caitlyn Jenner, and countless others heading the conversation, a film like Tom Hooper's "The Danish Girl" feels vibrantly relevant in today's cinematic climate. Spearheaded by two powerhouse performances from Academy Award winner Eddie Redmayne and Alicia Vikander, "The Danish Girl" is a luscious and gorgeously crafted piece, invigorating the soul with its conveying message of freedom and love. As polarizing as Tom Hooper has been in his choices to shoot and frame his films like "The King's Speech" and "Les Miserables," two films that are still delightfully poignant years after, "The Danish Girl" is by far his most alluring film to date. Cinematographer Danny Cohen truly hits his stride from the opening frames, as he calls back to Dick Pope's work in last year's "Mr. Turner," but allows a story fragrantly moving to become his blank canvas in which to respectfully capture the film's most sentimental moments. If you're searching for the "Hooper-isms" like people shoved into the corner of a scene or extreme close-ups, you'll find them, but there's a resourceful way in which he's utilizing his tactics that feel genuine and necessary. Last year Eddie Redmayne won the Academy Award for Best Actor for his performance in James Marsh's "The Theory of Everything," beating out some big names. A performance I quite liked but didn't fully understand the gravitation over other names throughout the year. As Lili Elbe, Redmayne ignites his most daring and captivating turn of his career. Visually married to the woman in dedication to the role, he allows 'Lili' to wash over him both with aggression and delicacy. It's a near masterpiece performance that I'll remember for years to come. Equally compelling, and even more magnificent in her turn is Alicia Vikander, who in just under two hours, solidifies herself as one of the most breathtaking and exciting actresses working today. Vikander's subtlety and interpretation of 'Gerda', is a sensational vessel of complexity and honesty, as she runs the gauntlet of a woman desperate to understand and struggling to hold it together. As the tears well up in her eyes, and she desperately asks Lili to have 'Einar' hold her, it's the single most heart wrenching scene this year. It's the strongest and most compulsory turn by an actress this year, and one that will have the Academy Awards running to check off for a nomination. The rest of the cast, in particular Amber Heard and Ben Whishaw is staggeringly good. Matthias Schoenaerts' massive and stoic persona adds to the mystery and complicated nature of Lili's existence. Where "The Danish Girl" faults itself is with the script by Lucinda Coxen. While she successfully captures the spirit and tone of Lili's struggle through her life, her inserted beats of on-the-nose dialogue can be trying at times. Having Gerda say things like "I felt like I was kissing myself" when recalling her and her husband's first kiss, was a little over-the-top in an attempt at foreshadowing. However, she delightfully captures the humble beginnings of their marriage, with the secret that plagues their union with accuracy. Just one year after winning his long overdue Oscar for scoring "The Grand Budapest Hotel," composer Alexandre Desplat synchronizes fervor and empathy with his brilliant orchestra. I believe its one of his most profound works to date. Same can be said for Production Designer Eve Stewart and Costume Designer Paco Delgado, who both capture the essence of European history with accuracy and vitality. "The Danish Girl" is a seducing feature with fortitude and grace, all of which measures up to heroic story of being yourself, no matter what the circumstances. Tom Hooper's direction, along with Redmayne and Vikander's work will likely be at the top of Oscar's to-do list for the awards season.

Went in with high expectations and ended up almost dozing at the slow pace of this movie. Few highlights and drab backgrounds will not attract me to visit Copenhagen. Typical Oscar type movie, well acted by Redmayne and Vikander just a too slow movie pace. Redmaynes character didn't develop for me at all and I couldn't see it improving if I'd stayed longer so 65 mins into it I followed several others who had left early and noticed one guy fast asleep. The core subject as stated in the trailers and posters is Redmayne's exploration of the femininity side of humanity. All well and good in a psychiatrists consultation but for a movie no. Had this been made for TV it could better be serialised. This is just my opinion but I was bored by it however most folk will watch it and rate it for it's acting merit - I rate for watchability.

Set in Copenhagen in the mid-1920s, this film tells the story of the first person to undergo gender reassignment surgery, a story which does not, sadly, have a happy ending. Einar Wegener, a Danish painter, has been married to a fellow-artist, Gerda for six years. Gradually he becomes obsessed with the idea of becoming a woman, a quest which leads him to submit to untried medical procedures which eventually prove fatal. It does not take much imagination to appreciate how challenging it must be to find oneself stuck in the 'wrong' body and impelled to rectify this situation by resort to surgery. Perils loom on all sides - the physical risks, the psychological anguish, the threats to personal relationships, the fear of social ostracism or worse - and smooth passage seems improbable. How much more so given the state of medical and psychological knowledge in the 1920s and a less liberal moral climate than prevails today. Surely such a prospect must make for rich and vibrant drama. Yet, despite its dramatic potential, the Wegeners' story is given such a flat treatment by Tom Hooper that the movie verges on boring at times. A bleak note is struck from the start and continued with little respite. The mood is cold and gloomy, emphasised by the colourless, sparely-furnished interiors (light-grey walls in their apartment, harsh white wall tiles in the clinics and consulting rooms - only when Gerda visits Paris do we see some gorgeous period interiors), the bare wintry landscapes of Copenhagen, and the minor-key music. The tempo is one-paced and the dialogue is often stilted and dreary. Can this really be someone engaged in a momentous struggle with their identity and, consequently, with their personal relationships and their position in society? Indeed, when Einar first steps out into the world as Lili, she seems barely noticed by those around her despite looking far from convincing as a female. Einar and Gerda never explore with each other in any sustained way what is happening to him and its implications for their relationship. Partly because of this we get little understanding of Einar's self-perception, little sense of his insights into his condition. Similarly, we don't encounter the desperation of someone in crisis except very late on when Einar is battling with the immediate after-effects of his operations. Mercifully, we are spared visual details of his exposure to the surgeon's scalpel. The lead characters are surprisingly one-dimensional and seem to be narrowly self-obsessed. The emotional range is equally constrained for while we witness neediness, longing and lust, there is no real passion, no sense of warm affection or love between Gerda and her husband. Nor do we see real anger displayed, despite there being much for the characters to be angry about. Lili's quest for transformation seems to bring no one any lasting pleasure. The exaggerated and awkward manner that Eddie Redmayne brought to the character of Stephen Hawking, and which worked brilliantly there, does not really do so here. Instead it proves a distraction. Lili repeatedly responds to male attention with little more than shy downward glances and simpering expressions which become rather embarrassing to watch. Perhaps only a more accomplished actor than Redmayne could carry off this highly demanding role successfully. Alicia Vikander does much better as Gerda but cannot shine so brightly in Redmayne's shadow. There is clearly plenty of talent associated with this film and the story of the Wegeners seems worth telling. But this movie fails to hit the mark. Viewed at Home (successor to The Cornerhouse), Manchester, UK, 03.01.16.

First the good: Alicia Vikander gives an excellent performance in a poorly written role. The music, when it's not loudly substituting for a decent script, is often lovely. And the historical context is illuminating, especially the very real danger of institutionalization. Other than that, what a mass of prestige picture clichés, laughably symmetrical camera set-ups and gorgeous landscape cinematography. And poor Eddie Redmayne. Completely out of his depth in the central role. Obviously, no one knows how well Lili Elbe passed for a woman, but no one, and I mean absolutely no one, would mistake Redmayne's Lili for anything else but an awkward, clumsy male in a bad wig. Granted, that would make an interesting take on this story: someone who believes they look like a woman but who doesn't. But that's not what this film proposes. Quite the opposite, which is why the audience consistently laughed every time the film suggested that Elbe herself, or other characters believed in the success of the transformation. The script is so cliché ridden and repetitious that even an actor as fine as Matthias Schoenaerts can't liven it up. And for some reason he is made up to look like a sweaty cadaver. And again,I felt bad for Mr. Redmayne, that he didn't get the directorial help he needed in the role and a better script that left him more to say than the trite and predictable lines in this one.