The Theory of Everything (2014): ***

The Theory of Everything is a perplexing film.  A biopic about Stephen Hawking would usually be fairly straightforward: his rise in the field of theoretical physics, overcoming the deterioration of his health. Yet, its source material, the memoirs of Hawking’s ex-wife Jane Wilde, transforms this biographical film into a rather strange beast. The scientific discoveries Hawking makes almost serve as background information, placing much more focus on the relationship between Hawking and Wilde, played by Eddie Redmayne and Felicity Jones respectively. On the other hand, the psychology behind their relationship doesn’t seem fully explored; we never really discover what makes them tick and make certain decisions. 

Eddie Redmayne does a stellar job of portraying Hawking, taking care to capture some of his determined yet cheeky spirit. He also throws himself into the physicality of the role, gradually transforming himself into the Stephen Hawking we are familiar with today. Although it does raise the ethical question about able-bodied actors playing disabled roles (commonly known as 'cripping up') although in this case, it does have the defence that it follows Hawking as his health deteriorates, still able to walk and it doesn't start when he is using a wheelchair. Redmayne may have the flashier role; however Jones’ performance shines through and arguably above that of Redmayne’s. Jones conveys Wilde’s demureness, determination and dedication towards Hawking in the early stages of the relationship. Felicity Jones also manages to quietly depict the later strain on Jane as she juggles the demands of being a career and assistant to Hawking, a mother and professor.  

Director James Marsh with his cinematographer Benoît Delhomme washes the screen with colour at every possible chance, with blue, gold and green tones featuring prominently throughout. A sense of wonder within the ordinary is also present throughout, which could be perceived as awe-inspiring or grandiose, depending on personal tastes. There is plenty of wit to provide levity throughout the duration of the film. The Theory of Everything is at its best during the more intimate moments, when it is not making its characters relate everything they say to science. 

The Theory of Everything doesn’t quite manage to achieve a complete character study on either Stephen Hawking or Jane Wilde, nor does it scrutinize the science which made Hawking famous. It is not as remarkable a film as Stephen Hawking is himself, although perhaps like all of us and Hawking included, it is a bit flawed.