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Criticism of “The Danish Girl”: Tom Hooper and Eddie Redmayne play with ambiguity

One of the extraordinary things that the film has for me is that it addresses the depth of love, how extraordinary it can be, how it is not defined by gender, by sexuality, by race, by religion, it goes more there and it's about the soul. This is called "The Danish Girl", an incredible, unique and beautiful love story.

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danish girl stills
danish girl stills

So with those words (from the lines above) is how the British actor Eddie Redmayne conceptualizes the story that he himself stars and that led him to play “Einar Wegener”Danish boy who was one of the pioneers in acquiring the characters sexual activities of the woman through five surgical interventions and that made him reborn as a whole Danish girl called “Lili Elbe” (“like the Elbe River”, she said).

This whole story is underpinned by another character, equally complex and passionate, “Gerda Wegener” ( Alicia Vikander ), who plays the role of the stoic wife of “Einar”, a painter like him, and even more transcendent in it, according to The fresco by Tom Hooper (“The King’s Speech”) portrays it.

The film is based on David Ebershoff’s book of the same name, which is a free version of the life of these two characters, Einar and Gerda ; according to she is based on reliable data ( for example, her famous paintings of erotic lesbianism ), Gerda was a lesbian and preferred Lili’s femininity over Einar’s masculinity. In real life they were more a couple of friends than a heterosexual couple of two artists in full swing, as indicated in the book and therefore, in the film by Hooper. Moreover, there is a more precise literary material of the life of Lili Elbe, called “Man into Woman”, written by Neils Hoyer, who for this purpose managed to gather the letters and the diary of Lili herself.

“Einar”, according to Hooper, is a painter who, like his wife “Gerda”, is on the rise of their respective artistic careers, where both enjoy their professional activities and more of their own personal and intimate relationship. On one occasion, “Gerda” asks her husband to pose for her in order to complete a picture of a dancer who was indispensable to finish. It is here, in this situation, that Hooper shows us an “Einar” who begins to realize that there is something different about him. The inflection point that will initiate a deep inner journey to know who he really is. The beginning of the path of its metamorphosis.

Eddie Redmayne at the inflection point of his character
Eddie Redmayne at the inflection point of his character

Eddie Redmayne gave plenty of evidence of his great chameleon talent when he got into the shoes of the great science popularizer of astrophysics, the genius of Oxford , Stephen Hawking (“The Theory of Everything”), and on this occasion it could not be the exception. Tracing tenuous lines, barely noticeable, Eddie is shaping this character, without haste, with light and silent steps, almost stealthily slips in the path of transformation to disrupt the being, to “Einar” and strip him of the lie that He lived for years: it is not what dictates the appearance, but what the heart commands.

With a courage full of graciousness, “Lili” will begin to unfold in a world that does not reserve its rejection, that does not accommodate it and despite this, it does not weaken, on the contrary, it emerges strengthened and full of vigor to continue his journey, to continue with his life, no longer by chance, but by an accurate conviction of who he is.

Alicia Vikander
Alicia Vikander

Criticism of “The Danish Girl”: Tom Hooper and Eddie Redmayne play with ambiguity
By Miguel Eduardo Chang Bustamante 22.1.16 Alicia Vikander , Movie Reviews , Movie Reviews , Eddie Redmayne

“One of the extraordinary things that the film has for me is that it addresses the depth of love, how extraordinary it can be, how it is not defined by gender, by sexuality, by race, by religion, it goes more there and it’s about the soul. This is called “The Danish Girl”, an incredible, unique and beautiful love story. ”
-Eddie Redmayne

Critic of “The Danish Girl”

So with those words (from the lines above) is how the British actor Eddie Redmayne conceptualizes the story that he himself stars and that led him to play “Einar Wegener” , a Danish boy who was one of the pioneers in acquiring the characters sexual activities of the woman through five surgical interventions and that made him reborn as a whole Danish girl called “Lili Elbe” ( “like the Elbe River”, she said ).

This whole story is underpinned by another character, equally complex and passionate, “Gerda Wegener” ( Alicia Vikander ), who plays the role of the stoic wife of “Einar” , a painter like him, and even more transcendent in it, according to The fresco by Tom Hooper ( “The King’s Speech” ) portrays it .

The film is based on David Ebershoff’s book of the same name , which is a free version of the life of these two characters, Einar and Gerda ; according to she is based on reliable data ( for example, her famous paintings of erotic lesbianism ), Gerda was a lesbian and preferred Lili’s femininity over Einar’s masculinity . In real life they were more a couple of friends than a heterosexual couple of two artists in full swing , as indicated in the book and therefore, in the film by Hooper . Moreover, there is a more precise literary material of the life of Lili Elbe, called “Man into Woman” , written by Neils Hoyer , who for this purpose managed to gather the letters and the diary of Lili herself .

“Einar” , according to Hooper , is a painter who, like his wife “Gerda” , is on the rise of their respective artistic careers, where both enjoy their professional activities and more of their own personal and intimate relationship. On one occasion, “Gerda” asks her husband to pose for her in order to complete a picture of a dancer who was indispensable to finish. It is here, in this situation, that Hooper shows us an “Einar” who begins to realize that there is something different about him. The inflection point that will initiate a deep inner journey to know who he really is. The beginning of the path of its metamorphosis.

Eddie Redmayne in “The Danish Girl”
Eddie Redmayne at the inflection point of his character
Eddie Redmayne gave plenty of evidence of his great chameleon talent when he got into the shoes of the great science popularizer of astrophysics, the genius of Oxford , Stephen Hawking ( ” The Theory of Everything ” ), and on this occasion it could not be the exception. Tracing tenuous lines, barely noticeable, Eddie is shaping this character, without haste, with light and silent steps, almost stealthily slips in the path of transformation to disrupt the being, to “Einar” and strip him of the lie that He lived for years: it is not what dictates the appearance, but what the heart commands.

With a courage full of graciousness, “Lili” will begin to unfold in a world that does not reserve its rejection, that does not accommodate it and despite this, it does not weaken, on the contrary, it emerges strengthened and full of vigor to continue his journey, to continue with his life, no longer by chance, but by an accurate conviction of who he is.

Alicia Vikander in “The Danish Girl”
Alicia Vikander
Alicia Vikander ( ” Ex Machina ” ), or “Gerda” , the loyal companion and friend of “Lili” , is a brilliant counterpoint to Redmayne’s performance . Convinced of his heterosexuality, is astonished and for a moment, downcast, before the changes that are occurring in the life of “Einar”. Trying to understand the physical and emotional metamorphosis of her former husband, “Gerda” enters a painful process of acceptance of her new reality. And this is where Vikander unfolds the talent he has as an actress; taking advantage of each framing, he traces a character full of disconsolation and confusion, but at the same time, stoic and loyal to its main cause: the love that professes in every sense to “Einar” and this love is also being transformed as “Einar” is changing. A love reborn in something new, but that will never stop being love.

Tom Hooper presents this filmic discourse without brusqueness, without frames that run over the story that comes naturally; With his own rhythm, he is accompanying rhythmically the rhythm of his two protagonists, to deliver a cinematographic piece synchronized with the complex emotion of those who live a radical transformation in different directions, with the difficult task ( which is for anyone ) to achieve who is in reality and to go to a dream with the firm intention never to let go.

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