The Danish Girl (First impressions)

TITLE: The Danish Girl
DIRECTOR: Tom Hooper
SCREENWRITER: Lucinda Coxon (Based on the novel by David Ebershoff)

There is a line that suggests that the titular "Danish Girl" may not refer to Lili (Eddie Redmayne, The Theory Of Everything, Les Miserables) but to her partner, Gerda (Alicia Vikander, Ex Machina, The Man From U.N.C.L.E.) and perhaps the idea is that this film is not just about someone discovering their identity and making a transition, but also about someone close to them witnessing the changes they are undergoing. The film has been a cause of a bit of controversy owing to the casting of a so-called "cisgender" actor in the role of a transwoman. I personally cannot speak on behalf of Redmayne's identity (director Tom Hooper has spoken about recognizing a "certain gender fluidity": http://www.independent.co.uk/arts-entertainment/films/news/the-real-reason-eddie-redmayne-was-cast-as-a-trans-woman-in-the-danish-girl-10480658.html) but I think the film's intentions are largely honorable - Redmayne is listed in the end credits as playing "Lili" as opposed to "Einer" or "Einer/Lili". Plus, trans actress Rebecca Root has a cameo as a nurse. It could be argued that the film is aimed those unfamiliar with the subject and perhaps it might inspire some to get themselves educated. Writing about it here, I shall try to be careful in the use of pronouns where appropriate.

The film is set in 1920s Copenhagen and is bookended with a shot of some trees that inspire one of the latest works by artist Einer (Redmayne), who is married to fellow artist Gerda (Vikander). Interesting to note is Einer is seemingly "cis" early on ("Can't a man watch his own wife get undressed?") prior to Lili's "awakening". One day, Gerda gets Einer to model for her, which involves putting on stockings and holding onto a dress without having to wear it properly. However, it seems Einer might quite like this. Friend Ulla (Amber Heard) gives him the name "Lili" and soon, it is suggested that Einer attend a party in character as Gerda's cousin, Lili (Einer learns how to perform as a woman beforehand) and it is there that she attracts the intentions of a romantic named Henrik (Ben Whishaw, Skyfall, S.P.E.C.T.R.E.). Henrik is initially forceful in getting Lili to kiss him and this is witnessed by Gerda, for whom the donning of the Lili "character" had been a game. For Einer, however, it's soon no longer just a game (during one romantic encounter as a couple, Gerda starts to strip Einer down to discover that Einer is wearing a dress belonging it her). We later learn of a childhood encounter between Einer (wearing an apron belonging to a grandmother) and a boy named Hans, played as an adult by Matthias Schoenaerts (Far From The Madding Crowd, A Little Chaos). Einer and Lili develop symptoms (nose-bleeding and stomach cramps) and is subjected to radiation treatment as an attempt to cure an apparent "delusion". This fails and Einer sees other doctors in secret and even has to escape one when diagnosed as a schizophrenic (when out in public, Einer also suffers some homophobic abuse).

Beautifully shot by Hooper's collaborator Danny Cohen (The King's Speech, Les Miserables), pretty much every establishing shot of Copenhagen can be framed and hung on a wall. My only nitpick with the filmmaking is Hooper and Cohen's bending of the 180-degree rule when characters are in conversation. Arguably, the film is about image, whether its in the paintings of Einer and Gerda or reflections, both in mirrors and windows. At one point, Einer recluses to what is essentially the wardrobe of a theatre (the film's own "closet", perhaps?) and strips down and examines the body in the mirror and tucking genitals between legs. Later, Einer pays to watch a nude performer through a window and imitating her moves (which had some resonance for me). The film is also perhaps about the human body as well. As well as the bodily examination, we have scenes of intimacy between Einer and Gerda (Vikander's nudity is just one example of the "15"-rated "sexualized scenes"); the discussion of the life-risking operations to complete Lili's transformation concern a change of genitals. It's also a film involving secrecy (again, not just the scene in the wardrobe); Lili seeks out Henrik and ultimately finds in him a confidant whilst Gerda is temporally tempted by Hans. It could also be said to be a love story of sorts about a couple who, ultimately, grow apart when a new person enters the scene - Lili is presented as something of another personality before "Einer" tells a doctor that "he" believes that he is a woman and Gerda expresses support in this belief.

I found some of the film-making exciting (only towards the end when Lili goes on her trip for the surgery did it seem to become "ordinary") and at some point I will devote some time to listening to the score by Alexander Desplat.