Charles Dickens (Ralph Fiennes, who also directs) steals away with his longtime paramour Nelly Ternan (Felicity Jones) in “The Invisible Woman.”
David Appleby • Sony Pictures Classics,
THE INVISIBLE WOMAN
⋆⋆⋆⋆ out of four stars
Rating: R, for sexual content.
'Invisible Woman' explores Dickens' secret love
- Article by: KENNETH TURAN
- Los Angeles Times
- January 23, 2014 - 2:46 PM
The numerous works of Charles Dickens, perhaps the English language’s pre-eminent storyteller, have been turned into films and television over and over again for more than a century. “The Invisible Woman,” however, might be the first film about the great man’s private life, and it’s as compellingly dramatic as anything he put on the page.
More than that, as directed by and starring the superb Ralph Fiennes as Dickens and splendidly assisted by Britain’s Felicity Jones as the title character, “The Invisible Woman” is an exceptional film about love, longing and regret. It’s further proof, if proof were needed, that classic filmmaking done with passion, sensitivity and intelligence results in cinema fully capable of blowing you away.
If you’re familiar with Dickens’ life, you’ll recognize that the film shares its title with Claire Tomalin’s 1991 biography. That book astonished the literary world by connecting the dots and confirming what had been only the vaguest of rumors: that the celebrated writer, a man with 10 children and a reputation as a passionate defender of home and family, had for the last 13 years of his life a mistress he managed to keep secret from the world at large.
That would be a young actress named Ellen Ternan, familiarly known as Nelly. The two met in 1857 when Ternan was only 18 and the celebrated writer 45 and world-famous. But far from being the typical age-inappropriate fling, this was a difficult, near-impossible relationship that neither party rushed into glibly and whose emotional pitfalls and complexities the film does complete justice to.
“Invisible Woman” is Fiennes’ second time behind the camera (2011’s “Coriolanus” was his first), and he agreed to direct well before he agreed to star, something viewers will be hard-pressed to believe given how completely he inhabits the novelist’s persona.
Perfectly capturing the ebullient personality and restless, piercing eyes that made up Dickens’ galvanizing public face, Fiennes is equally adept at the private Dickens — an uncertain, in some ways tormented man who was insecure and shy despite all his accomplishments.
It takes quite an actress to stand toe to toe with this kind of a performer, and Jones is up to the task. Although her work in two Drake Doremus-directed films, “Like Crazy” and “Breathe In,” has been exceptional, Jones is not as well known here as she is in the U.K. With a keenly expressive face that can transmit steeliness and disapproval as well as delicacy, Jones has the difficult task of playing Ternan at two different times of her life: She is both the 18-year-old ingenue who met Dickens and the forty-something wife and mother who took a decade off her age and completely changed her life after the author died.
The film’s back-and-forth structure comes via Abi Morgan’s exemplary script. A deft writer at home in the widest variety of material — her credits include Steve McQueen’s sex addiction drama “Shame” and the Margaret Thatcher biopic “The Iron Lady” — Morgan has constructed a script that refuses to take sides but rather enables us to experience this story from every possible angle, to live every one of its lives.
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