A couple of weeks ago I went with a friend to see 'The Danish Girl'. While the buzz was good and the trailer enticing, the reviews from critics didn't grant the flick the same grandeur as director Tom Hooper's previous films 'Les Miserables' and 'The King's Speech'. Intrigued as to what wasn't quite seeming to fit for the majority of the critics that I follow, I delved into my local cinema - gingerbread flavoured popcorn in hand (wouldn't recommend) - ready to be bombarded with the irresistible beauty of the ol' Hooper close-up...
What I found before me was nothing more or less than I, or - I assume - what you would expect. If you liked the trailer, you would like the film. Perhaps this is why all the luke-warm responses exist. Perhaps people expected more from a film that should have been raw and ground-breaking and intense. Yes, there is absolutely nothing wrong with this film, and no reason why you shouldn't see it, but in my opinion it just lacks that extra bit of 'umph'. It feels a bit too perfect.
2015, the year in
which 'The Danish Girl' was first released, was a breakthrough year for the LGBT
community. Not only was marriage equality passed throughout the United States,
but the trans community got a space in the spotlight thanks to Caitlyn Jenner's
now iconic Vanity Fair cover. Despite Caitlyn becoming a rather controversial
figure in the pop culture world, it was indisputably the year of the trans
community. 'About Rey' and 'Tangerine' were both released last year and
highlighted common struggles of the trans community. 'Stonewall' was also
released - though to a rather muted non-existent reception, and 'Carol' is
proving a hit with critics everywhere. With all of this focus on the Trans
community, and the LGBT community in general, maybe something extra needed to
distance 'The Danish Girl' from the crowd.
Oscar darling Eddie Redmayne was incredible. His
portrayal of Lili was both incredibly respectful and moving - every inch of his body
transformed into the beautiful Ms Elbe. He put in the effort off screen too,
interviewing trans men and women and becoming a sort of trans activist in the
process. Redmayne was my favourite part of the film, his chemistry with Alicia
Vikander providing but a cherry on the cake that was breathtaking
performance.
Talking of Vikander, her Oscar nomination is, in my opinion, thoroughly well deserved. She seems to have a unique quality to her that makes the audience feel like they're staring directly into her soul. Her emotion is raw and powerful and - at points - you find her tears are as infectious as the common cold. Though I would argue the film focuses more on her character than Redmayne's, this focus will probably benefit the mostly cis-gendered, straight audience of the film. The character of Gerda serves, primarily, as a delicately carved keyhole through which the audience can peer in order to gain a sensitive and engaging education regarding the first trans woman in history to undergo gender reassignment surgery. This could, of course, be one of the films few disadvantages however, considering the sheer magnetism of Redmayne's performance means every scene he isn't in can't match the ones in which he is.
The third star of the film is a decidedly less...tangible. The cinematography of the film is amongst the best of the year, with only two films surpassing it in recent memory: namely Mad Max: Fury Road and The Revenant. One shot in particular constantly reappears throughout the film - in paint form, and when we do finally see the shot in real life it is stunningly beautiful. Denmark is simply stunning on screen too, each cobble on the street feeling as if they were designed by artists.
Very mild spoilers are contained within the next
paragraph.
Unfortunately, it is this finesse that I believe also serves as the films main flaw. This, ultimately, is a story based on the heart-wrenching, emotion-fuelled, touching diaries of Lili Elbe - a woman who could have prospered in today's world but found herself the victim of society in her own. Though the film hints at the struggles she faced, we aren't shown the visceral intensity that she clearly went through. The sugar-coated, Oscar-bait formula of The Danish Girl almost does Elbe a dis-service. There is a montage within the film where Elbe visits various doctors and psychiatrists. Branded insane, schizophrenic or merely a 'homosexual', we are given a glimpse into the film this could have been. Not the story of a grieving wife, but the chilling and terrifying tale of a woman tortured by her own era.
Despite these complaints, I really do urge everyone reading this to watch 'The Danish Girl'. It really is a beautiful film, and while not as good as 'The King's Speech', Hooper delivers us another touching and emotional film that highlights yet another interesting and unknown historical tale that deserves its exposure. Hopefully 'The Danish Girl', which has performed averagely at the box office, will be yet another educational tool that highlights one of the most revolutionary trans women of all time, and gives the trans community another voice in a world that is still plagued with xenophobia.
Not only is 'The Danish Girl' a beautiful film, but it is one that contains a message that everyone should listen to. Though it's sugar-coating may help the cis, straight audience digest such a new and topical subject, it is one that ultimately inhibits the film from reaching its full potential. This does not mean, though, that the performances within the film aren't exceptional, and much like Lili and Gerda's own creations, 'The Danish Girl' is, quite simply, art.
8 . 5
OUT OF TEN Reviewed by James Green
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