Even great actors can't save an incomplete film...

Rating: 6/10 (31 January 2016)

I have no reservations about Redmayne and Vikander's performances, as the Academy obviously agrees with nominating both in the acting category --- Redmayne for Best Actor (following his win last year for the portrayal of Stephen Hawking in "The Theory of Everything") and Vikander for Best Supporting Actress.
The root of the film's disappointment is its screenplay and execution by the director. Hooper's project never reaches a profound level as he intends it to be. Every chance we are given to dig deeper into the titular characters' inner struggle, Hooper distracts us with the flourish appearances of - women's fashion, the sceneries, the bohemian lifestyle, and social challenges.
As Einar, Redmayne's every tremble, every touch is heartbreaking. Early in the film, we catch a glimpse of him caressing Gerda's silk undergarment --- his yearning to be a woman so strong that it both frightens and excites him. In his desperation to escape a facade that the world seemingly accepts, Einar strips himself bare, almost too forcefully, and pulls on women's costumes. Such intimate moments become increasingly rare on Einar's path to become Lili. Instead, Hooper wastes so much screen time on a bunch of doctors and their inability to comprehend Einar's condition and the subsequent treatment of him as an insane person.
At some point, Hooper shifts his focus to Gerda. She is the steadfast presence and constant support for Einar and Lili. Gerda may be the only one who truly understands Lili, which Lili vocalizes in her final moments, and the world acknowledges (albeit indirectly) in its appreciation of Gerda's famous portrait paintings of Lili.
But Gerda is a lonely soul too, and Vikander's depiction of her inner turmoil gets it right. One particular scene brings to mind --- walking out of her own gallery, Gerda refuses an umbrella and cries alone on a street bench, drenched in the rain. The Einar she knows is never coming back, but she never strays from her responsibility, as she insists that "Einar is still my husband." I wish I could have seen more of Gerda's actions and reactions when Einar is completely replaced by Lili. I loved Gerda and Einar's affectionate moments early in their marriage, but the intimacy is never realized in latter part of the film.
Referring to both Lili and Gerda as the Danish girl, Hooper may have tried to explore both characters equally, but what we saw was a half-hearted attempt at each. As a spectator, it was easy to get immersed in the story early on. Had the film been fleshed out more, I have no doubt that Redmayne and Vikander could have carried the characters to a satisfying end. Whatever the ineptitude was, the film could not sustain a depth that it falsely led us to believe.