Genius review: A solid debut from director Grandage with a superb, triumphant performance from Jude Law.
A highly-anticipated film at this year’s Berlinale, not just because of the impressive cast, which includes the likes of Colin Firth, Jude Law, Nicole Kidman, Laura Linney, Guy Pearce and Dominic West, but also because it marks the debut feature film from respected theatre director Michael Grandage.
Based on a true story, Genius is set in 1920s New York, with Firth starring as real-life book publisher Max Perkins, the man responsible for overseeing the work of F. Scott Fitzgerald, Ernest Hemmingway and ultimately Thomas Wolfe. The film essentially tells the story of the professional life of Wolfe (Jude Law). The famous writer was discovered by Perkins having been turned down by every other publisher in town. The film explores the creativity that went into his first couple of novels and the personal issue that he endured, including a turbulent relationship with his wife, Aline Bernstein (Kidman), as well as alcohol abuse and other addictions, primarily to his own writing. Adapting A. Scott Berg‘s book is Skyfall and SPECTRE writer John Logan, a scribe who has collaborated with Grandage in the theatre many times in the past.
The story mostly focusses on the professional relationship between writer Wolfe and publisher Perkins, and the obstacles overcome to bring a classic novel to book shelves. Wolfe was renowned for his over-writing, and its true, and indeed highlighted in the movie, that he had turned in first drafts of between 1000 and 5000 words in his first couple of books. In Genius, we see a firm bond develop between the two – a bromance if you will – as the two strive to battle against the endless struggle to turn in the perfect manuscript – all under the watchful and suspecting eye of their respective wives (Linney brilliantly plays Mrs. Perkins).
Michael Grandage is so respected in the London theatre work that his debut feature was always going to come under extreme scrutiny, and with huge expectation. With friends and collaborators on the scene in the West End, that include the likes of Kenneth Branagh and Sam Mendes, it comes as no surprise that the talented director took advise from both of them; spending time with Branagh on Jack Ryan: Shadow Recruit, and on his last, hugely successful, big-budget Disney film, Cinderella. It seems that this advise has paid off, as combined with his obvious skill for directing actors on the stage, something that has seamlessly transferred to the screen, Grandage has managed to construct an enjoyable, involving, very cinematic experience with his debut.
The film looks wonderful. Grandage has employed the talented Ben Davis, who most recently shot Guardians Of The Galaxy and Avengers: Age Of Ultron, and is currently working on another Marvel movie, Doctor Strange. Davis is also responsible for lensing the recent adaptation of Before I Go To Sleep and also Seven Psychopaths, so his CV is varied and really quite impressive. There’s quite a bit of use of CGI in this film, so his experience with such big-budget affairs certainly would have helped. The look of the film is spot-on.
Saying that Grandage has managed to pull the best possibly performance from his actors is without question. Jude Law stands out amongst the cast as the film’s biggest asset, his interpretation of Wolfe, complete with Southern drawl near flawless. Is it a career best from the British actor? Well, it’s certainly his best role for a long time; perhaps since Closer opposite Clive Owen, who was intensely watching his peer just a few feet away from us. It’s interesting that it has taken a theatre director to pull such a performanace from this highly talented actor, one who clearly has a gift for these kind of parts. He’s the best thing about the movie. Then there’s Firth, who again is clearly ravishing the material and almost matching his co-star, and also Nicole Kidman, a frequent collaborator with Grandage (they last worked together in the West End in 2015 in Photograph 51), who relishes the opportunity to appear in a more supporting, though equally pivotal role in Grandage’s first film outing.
Our only issue of the film were the appearances of F. Scott Fitzgerald (Pearce) and particularly Ernest Hemmingway (West). Their inclusion seemed insignificant and fleeting. There presence is a clear digression to the plot.
However, and we’re going against the grain here – this is one of the better English-language films playing Berlinale ’16. There’s a scene a scene very early on in the film, and a constant feature throughout where Law is seen banging his heel onto the ground. Constantly. It’s almost a metaphor to remind us that he’s back – telling us to wake up and pay attention. He’s back. Grandage has also pulled it off as this one isn’t to be missed. A must at Berlinale, and a must when it eventually rolls out in cinemas later this year. Applause all ’round. A film than genuinely lives up to its title.
Genius review by Paul Heath at the Berlin Film Festival, 2016.
