Tom Hooper ‘Slipped’ the Script for The Danish Girl to Eddie Redmayne While …

23 Nov 2015 | Author: | No comments yet »

Eddie Redmayne Reveals He’s Still On Honeymoon Phase With Wife Even After A Year Of Marriage!.

WITH THE UBIQUITY of transgender news this year, one would think the team behind Tom Hooper’s latest film, The Danish Girl (starring Eddie Redmayne and Alicia Vikander), was just waiting for the most opportune moment to release its movie about Lili Elbe, the first known recipient of sex reassignment surgery.woman arrives in U.S. movie theaters this week, it catches a shift in the cultural zeitgeist that is expected to help take the film and its stars all the way to the Oscars. “I saw it as a small passion project.

In reality, the film is the result of a nearly 20-year journey that began when novelist David Ebershoff came across a brief reference to Lili’s story. Time really flies when you’re having fun – and when you’ve been filming hit films all year round – and it’s quite surprising to know that Eddie and wife Hannah Bagshawe’s first wedding anniversary is just a few weeks shy from now!

Born Einar Wegener in 1882, Lili Elbe was a painter of landscapes and was married to a fellow artist, Gerda, before becoming Lili, first in dress and later in flesh. “I had always thought Christine Jorgensen was the first to undergo gender affirmation surgery, in the 1950s,” Ebershoff says. “So it struck me: Why hadn’t I heard of Lili Elbe if she had done something so courageous so many years earlier?” While working at Random House in 1997, Ebershoff, who knew he wanted to try to write a book about Elbe, traveled to Denmark to begin research. “I went looking for Lili to understand the context that she came from,” he says. At the Los Angeles premiere of his new film ‘The Danish Girl’, the 33-year-old ‘Theory of Everything’ actor revealed in an interview with Variety that he still doesn’t quite know yet what to give his wife. Redmayne is now tipped to receive his second Oscar nomination for his portrayal of the Dutch painter. “I was actually making a film with Lana Wachowski, and she pointed me … when I talked to her about Gerda and Lili’s relationship, she knew about their art and their work and their life together. Nine designated “champions” – who include activists Pidgeon Pagonis and Fiona Dawson, artist LJ Roberts and poet Joanna Hoffman – will also be highlighted.

They seem touchingly young, like earnest teen-agers playing at adult life, and, despite the fact that both of them are artists, we sense little rivalry or spite. She basically told me where to start reading, and where to start educating myself.” Wachowski became the first director in Hollywood to come out as transgender, and completed her transition to a woman in 2008. Hooper said that when the script came to him in 2008, it had been passed around for about 12 years, struggling to secure finance because of what was seen as the story’s limited appeal. Its release now caps a year when transgender issues have gone mainstream, fueled by the success of award-winning TV series like “Transparent” and “Orange Is The New Black,” and the transition of Caitlyn Jenner, the former U.S. The film has, however, drawn some flak for failing to find a significant role for a transgender actor, despite director Hooper acknowledging the film industry has “a problem” with the issue.

Gently, he dons ballet shoes and silk stockings—just for fun, although the donning earns such close and reverent attention from the camera that something more than amusement, clearly, is at stake. The Champions of Change event is due to take place on 23 November, shortly after the International Transgender Day of Remembrance, commemorating victims of transphobic murders, which falls three days earlier. The White House hired its first openly transgender staff member, the Pentagon launched a study aimed at ending the ban on trans people in the military, and U.S. female colleges have begun accepting transgender women students. Getting the tone right was important for the filmmakers, who spent months on research and outreach in a bid to represent the community in an authentic way.

Britain’s Eddie Redmayne, who is seen as a strong contender for what would be a second Oscar for his nuanced performance as Lili, spent three years meeting trans women, reading Elbe’s diaries and educating himself about transgender issues. “The generosity of these women in sharing their souls and their stories was totally overwhelming,” he said. Hence the next step: Gerda goes to an artists’ ball, taking Einar along not only in drag, decked out in a wig and a long gown, but in the complete guise of another person, who is introduced as Lili Elbe, Einar’s cousin.

He also looked for feminine qualities within himself – some of them perhaps nurtured years ago. “I went to an all boys’ school and when I was a kid I played a lot of women in school plays. Few of the guests look askance; one of them, indeed, an impassioned fellow named Henrik (Ben Whishaw), engages Lili in conversation, and, in the seclusion of another room, bestows a kiss.

By this stage, the movie is rife with confusions of every type, and Hooper handles them with clarity, grace, and a surprising urgency, far more at ease in this intimate drama than he was with the super-sized galumphings of “Les Misérables.” He is right to be urgent, because Lili and Gerda are all too aware that, for those who are sentenced to lifelong incarceration in the wrong form, a change of clothes is not enough. Einar Wegener was a real person, and “The Danish Girl” is based on a novel, of the same title, by David Ebershoff, which retells the tale of Lili, and honors her determination to undergo transgender surgery. Nothing rude or untoward has been admitted; when the word “penis” is mentioned, it rings out like a gunshot, and anyone who snickers when Henrik says to Lili, “You’re not like other girls,” may well be asked to leave the cinema. From Shakespeare to “Shakespeare in Love,” fluidity of gender was a great dramatic staple, touched with sexual inquisitiveness and flourishes of farce.

As the Caitlyn Jenner saga has confirmed, the visual and verbal language of the subject has become a minefield, and Hooper’s film is a master class in how to tiptoe through the mines. The Copenhagen interiors are modelled, with aching fidelity, on the paintings of the Danish artist Vilhelm Hammershøi, who died in 1916, and the same nicety gilds everything from garments to complexions. To be honest, he’s so outrageously pretty to begin with that the journey into feminine loveliness is for him little more than a sidestep. (Did I detect a faint testiness in Vikander as she realizes that, for once, she must settle for being the second-most-beautiful creature onscreen?) I struggled hard to picture Steve Buscemi, say, in the role of Einar, but nothing came, and, likewise, were you to swap the stately trio of Copenhagen, Paris, and Dresden for downtown Pittsburgh, the film would swiftly collapse. Better yet, in the dimly lit highlight of the film, he visits a peepshow, in Paris, where a naked model feigns her pleasure behind a glass screen; rather than leering, however, Einar studies her devoutly, his imagination hungering toward her.

All of them attend the same school, and, on the last day of the spring term, they race to the beach and splash around, sitting on the shoulders of boys—their fellow-pupils—to stage a mock battle in the water. If that reminds you of “Spring Breakers,” glistening with beer and bikinis, think again; the girls are fully clothed, and they run home none the worse, in a state of sportive bliss. Erol calls them “sullied.” Their antics, glimpsed by a neighbor, have brought shame upon their house, which, from here on, is hardened into a jail.

Exits are blocked, and bars are later welded onto the windows; fripperies like phones, computers, and makeup are confiscated; in public, T-shirts and denim shorts are replaced by what Lale, whose voice-over we occasionally hear, describes as “shapeless, shit-colored dresses.” But the jail is also, in her words, “a wife factory,” and soon both Sonay and Selma are married off, not merely in accordance with custom but also, we sense, in haste, before they can land themselves in more trouble. Most audiences will reel in dismay as the older girls are summoned to a “virginity report,” or as family members knock on the door of a bridal chamber, midway through the wedding night, and ask to inspect the sheets. As for the grandmother, she’s no witchy crone but a tired and kindly figure who can hardly be hated for clutching at the roots of old traditions. “I didn’t know my husband at all,” she recalls, “but I grew to love him.” The film will be of most use, perhaps, to anyone who is teaching “Pride and Prejudice” to a bunch of teen-agers. They will relish the scenes in which the five sisters, showing slightly more initiative than the Bennet girls, escape to watch a soccer match, from which all male spectators have been banned. The question that Ergüven puts, in the context of modern Turkey, is one that Jane Austen might have recognized: How, as a young woman, can you preserve not just your modesty but also your freedom of spirit and the play of your wits, when the purpose of your being, as laid down in social laws, resides in the finding of a man?

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