Full of Surprises

Rating: 8/10 (16 August 2015)

In one of the most memorable scenes of David Lynch's film, the protagonist, John Merrick (John Hurt) utters a remarkable sentence that, in a way, seems to reveal the gist of the story. He says: "People are frightened by what they don't understand."
Although this may directly refer to his unique story and unique suffering in a desperate quest to be noticed as a 'human being,' this may also embody the motives behind liking or disliking this film. The dilemma revolves around 'accepted' or 'not accepted.'
As based on the true story of Joseph Merrick (the film changes the name deliberately as the protagonist may represent any man), the storyline develops characters from the standpoint of the protagonist, the victim of his destiny, a pitiful scapegoat of the mob's undying curiosity and a grateful receiver of the open minds around him. John Hurt portrays Merrick is a very subtle way highlighting his suffering, his despair, his little joys and...perhaps the most discussed feature, his courage. Roger Ebert in his rather critical review on the movie quotes an American novelist Wilfrid Sheed who doubts the 'true courage' from Merrick since, what he points out, 'true courage requires a degree of choice." What choice does the protagonist have in these circumstances and what choice does anyone have? Anyone whose condition is totally beyond one's control? As more or less courage a viewer can find in the character though, one thing is certain: along with the supporting characters of the movie, we grow perceiving the protagonist more and more as a likable, even lovable human being. I would not agree with Mr Ebert and his statement of 'pure sentimentalism' but rather see certain scenes heartily where, indeed, Merrick's sense of beauty and sense of subtlety emerge. The theater scene is, perhaps, the most important to be quoted here. There is also a religious undertone in him, namely, in the quotation of Psalm 23 which appears as comforting inspiration and 'his cathedral' which occurs to symbolize his quest for spiritual heights.
Clearly, the most important character except for the protagonist appears to be Dr Frederick Treves (also a historical figure) played with sheer brilliance and precision by Anthony Hopkins. In all what he does for John Merrick, we see true doctor's charisma. He tells the truth...he is not afraid of a bitter answer 'No' to a desperate question "Can you cure me?' Yet, as he portrays a man of good intentions and right deeds, he also powerfully depicts a man of doubt. In one memorable scene with his wife, we encounter Dr Treves asking himself: "Am I a good man?" This modesty of his character makes him memorable and approachable. It is, finally, him who Merric calls his true friend. This certain 'bond' between the patient and his doctor is compared to Francois Truffaut's WILD CHILD by Roger Ebert and, indeed, there are certain parallels that may be drawn. However, there is one prevailing aspect between Merrick and Treves: that is confidence from the start.
Sir John Gielgud and Anne Bancroft need to be mentioned as supplying the story with charm and heart. Both portraying real figures (Francis Carr Gomm and Ms Kendal), they constitute an 'oasis' of kindness and understanding to Merrick. Ms Kendal, more to say, played delicately by Ms Bancroft, represents 'mother's care.' (consider the camera-frame of the scene when she calls his 'Romeo'). The scene of gift (the dressing case) stands out as an emotional resonance. Ms Kendal On the way towards contrasting those attitudes appear to be some intentional and unintentional 'victims of sensation' like a nurse who drops Merrick's supper in shock of his looks and the mob who break in and mock. The character, the evil character of course, deprived of any sophistication is Bytes (Freddie Jones), a true tyrant for whom Merrick is a mere 'freak.' He is undeniably deprived of any psychological approach, he is wicked in the very sense of the word, a sort of evil incarnate.
Apart from the characters, the film's technical aspects may satisfy even the more 'pretentious' viewers. The black and white and the camera-shots supply the film with adequate atmosphere and powerfully combine the gloom of the story with aesthetic glamor of the Victorian times. Christopher DeVore's screenplay occurs as clever.
THE ELEPHANT MAN is a film worth seeing because it depicts a story of any of us, it makes us realize how important it is to perceive others with love and dignity in spite of the fact they may be very different from the image we have created in our prefabricated perceptions. Fine direction, atmospheric sets, brilliant performances and a touching story.