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• W1989908334 abstract "The Theory of Everything, like a lot of films, is adapted from a book. But don't make the mistake of thinking that it is based on Stephen Hawking's seminal popular science juggernaut, A Brief History of Time. For one thing, seeing as most people I know will unashamedly admit they only got halfway through Hawking's book and then gave up, a cinematic representation of his hypothesis on theoretical cosmology written for the layman might not be the most appealing way to spend 123 mins of your life. For another, The Theory of Everything, paradoxically, has more equations in it than A Brief History of Time does. While Hawking was warned by his publisher that for every equation he included, he would lose half of his readership—he relented to the most part and left only one equation (Einstein's equation of special relativity)—director James Marsh seems to not be swayed by the potential for mathematical aversion in the audience and has included whole blackboards of equations. Despite the surfeit of calculus, this is really not a film about physics either. Rather, it is about Jane Hawking, Stephen's wife of 30 years, until their divorce in 1995, and her life with Stephen, based on her second memoir, Travelling to Infinity: My Life with Stephen. The plot follows the classic boy meets girl, they fall in love, and get married storyline. The twist in this tale is that there is seemingly no prospect of living happily ever after as, anyone who has not been teetering on the event horizon of a quantum singularity for the past 30 years will know, Stephen is diagnosed with motor neuron disease and was initially given only 2 years to live. The story begins in 1963 when the Hawkings-to-be first meet in Cambridge, where they are both university students: Stephen is about to embark on the PhD that will be the springboard for his meteoric career, whereas Jane is studying literature with a view to undertaking her own PhD in medieval poetry of the Iberian Peninsula. Jane and Stephen, to all intents and purposes, seem such an ill-suited match that another popular theory—the one about that opposites attracting—is stretched to incredulity. She is practical, crisp, and patrician; he has the air of an academic consumed by his subject, even at such a young age. They are at loggerheads from the off, particularly when it comes to religion: Stephen has an atheistic fervour that would make Richard Dawkins seem pious (“cosmology is atheism for clever people” would seem an ill-judged statement to make during a first date, but it doesn't seem to deter Jane), whereas, while she does not come across as evangelical, the viewer is left in no doubt that Jane is a committed Christian. The portrayal of these viewpoints fits into a recurring, and sometimes clumsy, juxtaposition of the ups and downs of the Hawkings' life together that recurs throughout the film: as if trying to restore some cosmic equilibrium, every high in the narrative must immediately be followed by a low. The Hawkings get married shortly after Stephen's diagnosis, determined to soldier on independently. But, as Stephen's academic reputation, and his celebrity, grows, and his illness progresses, Jane finds she is having to cope with more and more. Factor in the demands of a young family, and trying to work on her PhD thesis, they are eventually going to need some help. This comes first of all in the form of Jonathan Jones, a sensitive widower who is choirmaster at Jane's church. Jones becomes a firm fixture in the Hawking household and assumes many of the pastoral duties of Stephen's care. Jane and Jones forge a close relationship, which is presented as entiely platonic but nevertheless raises a few eyebrows among their families. Circumstances eventually dictate that Stephen needs professional care, which comes in the form of nurse Elaine Mason. The rest, as they say, is history. However, while much has been reported on the disintegration and events subsequent to the breakup of the Hawkings' marriage, in The Theory of Everything, it is all amicable and everyone remains jolly good friends throughout. While I said earlier that the film was based on Jane's memoirs, as art so often reflects life, it really ends up being mostly about Stephen, with Jane in the supporting role. Similarly, while Felicity Jones is excellent in her portrayal of the no-nonsense Jane, it is BAFTA and Oscar winner Eddie Redmayne as Stephen who steals the film. Personally, I wouldn't even hazard a guess as to how you would begin the task of emulating the unique physicality of Hawking, who must be one of the most recognisable people on the planet, but Redmayne—thanks in no small part to an uncanny resemblence between the actor and his subject—manages to capture perfectly Hawking's presence and even manages the physiognomic feat of conveying so much intimated meaning without the use of facial features, but just by a twitch of the eye partially hidden behind his voice synthesiser. If you do take anything home from this film, however, it must surely be the truly inspired potatoes and peas metaphor used by Jane during dinner to explain the mutual exclusivity of the laws of quantum physics and those of general relativity. Makes you wonder: if only Jane had some editorial input into A Brief History of Time, more people might have made it to the end. The Theory of Everything Directed by James Marsh, 2014.123 mins The Theory of Everything Directed by James Marsh, 2014.123 mins" @default.
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• W1989908334 date "2015-06-01" @default.
• W1989908334 modified "2023-09-27" @default.
• W1989908334 title "Atheism for clever people" @default.
• W1989908334 doi "https://doi.org/10.1016/s1474-4422(15)70041-4" @default.
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