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“Time hath not altered” the emotional impact this movie has on me when I contemplate it. The word “poignant” has grown hackneyed from overuse, but it certainly applies to this broad film. Few films can equal it in terms of dramatic artistry and pitch perfect performances. There’s not one maudlin impress in a film that could easily have descended into bathetic melodrama in lesser hands.
Lynch was practically a neophyte at the time he directed this movie, yet to many (and to most, for that matter, do the lawful believers) THE ELEPHANT MAN is his magnum opus. I absorb this is because of the mostly Britsh, classically trained actors that made up the cast. Hopkins and Wound excell. Anne Bancroft (who I enjoy is the only American in the cast) delivers a flawless performance. Freddy Jones, as Bytes (this was before the internet, remember) is simply uncanny in his tour-de-force portrayal of arguably the vilest villain in cinema history. Who cares that the character was totally innacurate, historically? He chews up the scenery in suitable Broad Guignol fashion. Gielgud and Wendy Hiller are also on hand to provide levitas. One can’t bag a better ensemble. It’s criminal that at least one of them weren’t awarded an Oscar, but that’s impartial another example of how meaningless those petite gold statuettes are, more often than not.
Though this is a lot more linear than most of Lynch’s movies, there is enough of the surreal on hand to withhold the die hards elated. But the surrealism doesn’t pick up in the scheme of the space. Christopher de Vore and Eric Bergren, who collaborated with Lynch on the screenplay, can catch some credit for that. Worn cinematographer, Freddie Francis did perhaps the best work of his career here. The dark and white images are as splendid as it gets. The sets are unforgettable. Victorian London has never looked so convincing on veil, yet with that nightmarish quality that defines most of the movie.
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If you’ve never seen this movie, secure your hands on a copy, soon. It couldn’t be described as “weepy,” by any means. But if you’re not reaching for the kleenex at some stage in this marvellous film, I’d ask the Wizard for a heart, if I were you. For those of you who haven’t seen it in a while, give it a re-viewing. It absolutely holds up, particularly in comparison to 1980 Best Report, ORDINARY PEOPLE…and Best Director, Robert Redford? Hopkins didn’t fetch nominated, but Jack Lemmon did for TRIBUTE? Anyone remember that one? Gotta go fetch some Maalox.
BEK
As I sit down to write this review, my experiences with it from my youth came flooding aid. I first saw it as a 17 year passe high-schooler at my local movie theater, leisurely one evening. I had seen, and enjoyed, the Broadway play a few months earlier, and wanted to search for how the movie compared. The play, I should say, was very spellbinding and had a definite spareness in its production earn that was very effective. I had left the theatre with a moist see and an interest in learning more about John Merrick, The Elephant Man (who had neurofibromatosis, NOT elephantitis, as is so often attributed to him) .
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Anyway, when the movie concluded, the ENTIRE audience of 150 or so sat in its seats, numbed and unmoving. It was one of those experiences where you fight encourage your tears, because you’re skittish if you let go, you’ll inaugurate bawling like a baby! The film was so profoundly engaging to me and so artistically lustrous, that I went again the very next day, dragging reluctant friends with me. They were all skittish. I watched it AGAIN later that week.
I’ve watched it on video a couple of times years ago, but until I rewatched it recently on DVD, it had been nearly 10 years since I’d seen it.
Buy,Download, Or Stream The Elephant Man! Click Here
Buy,Download, Or Stream The Elephant Man! Click Here
The epic is place in the early turn-of-the-twentieth-century London. John Merrick (John Injure) is, for lack of a better word, enslaved as a sideshow freak. He has the most evil growths on his bones, which give him a grisly appearance. His head is probably three times bigger than a normal human, and the shape resembles a lumpy dirigible. His limbs are mostly tangled messes. Eminent physician Dr. Treves (Anthony Hopkins) hears of this “elephant man” and is fascinated so greatly by his condition that he brings him to his hospital for observe. Everyone has always assumed this man must be a still “idiot.” Turns out that Merrick is a gentle, thoughtful and almost unbearably forgiving soul. The relationship that emerges between Treves and Merrick, as well as with Merrick and virtually everyone he encounters, is at the heart of this film.
(Mark of caution: The movie does not follow John Merrick’s life terribly accurately…neither did the play. When I read the biography of Merrick that his doctor, Treves, wrote, I got his “right” legend, which is fair as lively in its hold blueprint.)
David Lynch, we all know, is a “difficult” director, at least when it comes to story continuity. This movie, however, is his most accessible (along with THE STRAIGHT Account, which doesn’t even feel like a Lynch movie) . It tells a straightforward yarn…no dancing dwarfs, no tiny people unhurried radiators, no Wizard of Oz references, etc. etc. No Laura Palmer. However, the touches he brings to it are pure Lynch, and they support the movie profoundly.
For example, the movie takes state in the midst of the early Industrial Revolution, when science was becoming more “common” or “glorified” by the masses. It was also a time when London was awash in factories, and all the noise and pollution they wrought. If you’ve seen ERASERHEAD or DUNE, you know that Lynch likes to have lots of background noises of machinery. Often, those sounds are distracting. In ELEPHANT MAN, we are constantly aware, through these sounds, that we are in a very specific time and region, where the lifeblood of society was machinery, but substantial, dirty, unsubtle, perilous machinery. This, coupled with the dazzling gloomy and white cinematography, truly invent a mood that is unequaled.
Also, there are some brief dream sequences in which Merrick sees his mother. She flits in and out of his dreams in a manner only Lynch can evoke. No one has ever been better at capturing on film the elusive nature of dreaming…that dreams are a crazy combination of noble things and poor things happening all at once. These dreams are not a “design” but a window into Merrick’s soul.
Those of us who remember when the film first came out remember the constant rehashing of the “I am not an animal, I am a human being, I am a MAN!!” line that Merrick yells out when cornered in a verbalize situation. This howl of despair is one of the most exciting moments EVER place to film. I tear-up objective thinking about it.
The makeup is unbelievable. Having seen photos of the proper Merrick, I can region that the makeup crew got it just! And the unlit and white helps to shroud any imperfections. And underneath the makeup…
…is John Pain, a unbelievable actor in the role of his lifetime. He brings a delicacy and gentleness to the piece that has to bee seen to be believed. I guarantee you’ll be moved.
Hurt is ably assisted by Anthony Hopkins in a role which calls for restraint, and he delivers, which is current for Hopkins, who can overact at the fall of a hat…I esteem him, but sometimes he can overdo it, you must admit. The rest of the cast is bulky of familiar British character actors, as well as a brief but luminous appearance by Anne Bancroft. Everyone is at their very best.
Initially, the film snags the viewer because of our fascination at seeing a human being so horrifically ghastly. It holds a lurid fascination that fades into compassion and empathy. If a person as horribly mistreated by his fellow man, as well as by fate, can net beauty, forgiveness, tenderness and treasure flowing from him and to him…well, the film leaves you to design your fill personal conclusions.
I know that Lynch receives more ongoing accolades for his disturbing BLUE VELVET, and of course, for the groundbreaking TWIN PEAKS…but THE ELEPHANT MAN is the one I’m always drawn support to.
I simply cannot recommend this film highly enough. Moviemaking doesn’t earn any more heartbreaking and effective than this masterpiece.
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