The Theory of Everything

“There should be no boundaries to human endeavor. We are all different. However bad life may seem, there is always something you can do, and succeed at. While there's life, there is hope” (Stephen Hawking, The Theory of Everything). 

The Theory of Everything paints a brilliant portrait – it’s a film

that pays homage to a man who has revolutionized modern science. But more than that, this film is a love story, a film that intertwines the lives of Stephen Hawking, and his first wife Jane. Director James Marsh gives us a glimpse of a story that extends far beyond the confines an audience would expect, which fosters a unique personal connection between the audience and the couple. 

There are several cinematic elements at play throughout this film. As always, I love analyzing the beginning of a film as it is usually so integral to the development of the entire plot and theme. Interestingly, this film begins with a flash forwards, an element we are unaware of until the film progresses. The flash forward does have specific elements that characterize what is taking place. There is a significant difference in lighting and editing than what we would normally expect as “typical” or “normal.” The beginning of the film seems to have a tinted filter on it, coupled with an intentional decision to make the scene appear unfocused. Although we are unaware of what is happening, it is possible that the bright shades of light in this mysterious scene signify a happy environment. We are then warped back to what we would normally consider “typical” through a transformation in camera focusing and filter, as well as a change in diegetic sounds. The high-key lighting disappears and we are in neutral lighting accompanied by fast paced non-diegetic sound in the background – this sound seems to be important in signifying opportunity and adventure. 

The remainder of the film is focused around Hawking’s personal achievements – but furthermore, there is great emphasis on his relationship with Jane and their journey together. I would love to talk about the cinematic elements that characterized the two individual’s relationships. I noticed something very interesting – when Hawking is alone, the camera seems to focalize the camera and tell the story through his point of view – a subjective point of view. As the audience, we are presented with what he sees. There are several close-up shots of his face that reveal his look of intense concentration and interest in what he sees. The camera often zooms into his face and reveals the depth of understanding and curiosity within his eyes – which may often be the reason for the multiple cuts that occur simply to highlight Hawking’s fast moving eyes in the presence of his environment. He is in awe of his surroundings – always willing to learn more – and we become a part of his wonder. 

Something seems to change when Hawking and Jane are together. The camera no longer focuses everything we see on Hawking. The director makes a point to use vivid cuts and eyeline matches to emphasize the profound effect Jane’s attitude and charisma has on Hawking. We often see that the director makes it a point to use extreme close-up shots when signaling Hawking’s bodily changes in response to his developing motor-neuron disease. When these shots occur in the beginning, the audience is scared, frightened, and sad for Hawking. But by the end of the film, when we are back to the flash forward from the beginning of the film, the camera moves on a boom crane to show us the beautiful garden the couple are in. They are surrounded by beauty (emphasized by high key lighting), and surrounded by goodness. By this point, Hawking has lost his voice. He types to Jane, “Look what we made” – referring to their children. It is this moment that speaks out to us – the fact that there is beauty in his disease and state because he is surrounded by love. 

I really enjoyed this film – a great development that showcased the true meaning of love far beyond the typical movie we see today. The combination of camera shots, camera editing, camera movement, lighting, sound, and focalization were all integral components that combined to create the masterpiece that this Academy Award winner came to be.

“I want us to be together for as long as we have got. If that is not very long, well, then that is just how it is” (Jane Wilde, The Theory of Everything).