Redmayne and Vikander Barely Keep it Alive

Rating: 5/10 (23 December 2015)

"The Danish Girl" is a beautiful package that came with plenty of anticipation. It is the story of a pioneer, an opportunity to showcase the talents of two talented performers, and had it been in the hands of a more capable team, it would have reached heights that very special films are able to attain.
There's nothing wrong with the performances of the leads. In fact, Redmayne might be even better than in his Oscar winning turn last year. Vikander continues to show she's an acting powerhouse. Her range is incredible, and she handles the drama and complexity of her role the way more experienced actors could. She and Redmayne work very well together, and it's a pity that even with all the other members of the team, the director has managed to give us a film that is even more frustrating than "The King's Speech". That film benefited from Firth and Carter's chemistry. This time, the themes are darker and more controversial, but they have been stiffled by the way an otherwise gorgeous score is constantly blaring and drowning the emotional life of the performances. Scene after scene we are "cued" to feel wonder, pity, sympathy, or whatever emotion the musical score is supposed to signal. It's a pity because if the music had not been there, the film would be very powerful.
Yet,it's not the only problem. The script seems scattered. Had it followed a more streamlined and straightforward path, it would have been better appreciated. Instead, the production relies too much on the gorgeous photography, the exquisite outfits, the sensitivity of the class these people belong to. Are they bohemians? Are they artists? Are they really talented? They are supposed to be free-spirits, but they certainly struggle with the different possibilities they encounter.
Redmayne conveys the torture and confusion nature has presented him with. He knows what he feels. Hopper makes sure we see him caressing the fine fabrics, but he remains sensitive and rarely achieves femininity the way those three actors were able to project in the farce "Wong Foo". Redmayne is way too classy. Still, his eyes can show pain, fear, and anxiety, and that certainly helps the film. One asset and a problem is his mate. She's powerful, expressive, can deliver lines with certainty and emotions. She shows loyalty, affection, love, lust, and confusion and matches Redmayne in just about every frame. Vikander steals the show.
There's much that is important here, and its power is lessened by the lack of confidence on the subject matter, and because we are constantly distracted by the aesthetics, forgetting what really matters is the bond, the souls, the hearts...
I missed the rawness of dialogue like McLaine's in "Terms". Life is not exquisite, is flawed, is full of pain and that makes the special moments precious. This is a showcase for performers of all types, but there is hardly any unity. It's that isolated masterpiece in the museum that we are supposed to admire, but we can hardly gather any true liking for it.