The Theory of Everything

The Theory of Everything is a 2014 biopic directed by James Marsh. The story follows the life of Stephan Hawking and his first wife Jane, as they face the challenges of his motor neuron disease. The film was awarded the Academy Award for Best Actor and was nominated for Best Sound, which are two aspects, which particularly shone in the film.

Sound was a film aspect that stood out particularly in this film. The film relied on emotion to help the audience appreciate the story, and the music was executed perfectly to conjure up emotion in the audience. The score, written by Johann Johannsson, consists of classical music to create feelings of happiness and deep emotion. As the story progresses, there are several montages that simply show Stephan’s day by day life, such as his wedding to Jane, his research on black holes and playing with his children. These montages contain no talking, merely orchestral, diegetic sound to create the mood of the film. (Corrigan & White, 2012). The sound evokes stirrings of happiness in the audience, that despite his downward spiral, Stephan’s life still contains joy and fulfilment. Score was also a key factor in capturing audience’s interest in the science work of Hawking. Black hole theory was a major storyline in the film that would have had audiences bored if it weren’t for the score. By using style, blending the images and sound together, audiences’ interests were sparked. (Corrigan & White, 2012). For instance, Stephan pours milk into a cup of coffee and watches it slowly evaporate, symbolising a black hole. While this is playing, a flute and piano combine to create an orchestral sound to articulate the grandness of Hawking’s newly discovered theory. 

Eddie Redmayne’s portrayal of Stephan Hawking was another highlight of the film. Redmayne created a stylized performance, in which he was forced to learn new skills, to respectfully replicate Stephan Hawking’s ALS. This included speaking, walking with sticks, jerky hand movements and exaggerated facial expressions. Redmayne also used method acting (Bordwell & Thompson, 2012) to prepare for the role, such as working with a chorographer for four hours a day on simple every tasks such as eating and picking up objects. He practiced for hours sitting in a wheelchair with his legs crossed and his mouth slack and head bent, making it difficult for him to breathe. (Weisman, A. 2014).  To make sure he was respectfully playing a victim of ALS, he visited patients in a neurology clinic and talked with them about the disease. (Weisman, A. 2014). Redmayne retained a small frame to show a deteriorating state, and wore Hawking’s signature thick glasses to create the Hawking look. Before becoming diagnosed with ALS, Redmayne employed typage, in which he dressed according to 1960’s fashion and spoke with a very clear English accent.

Through sound and performance, audiences were able to appreciate the struggles of Stephan battling a large disability, but were also able to appreciate the wonders of his discoveries in physics despite his disability.