THE INVISIBLE WOMAN
UK, 2013, 111 minutes, Colour.
Ralph Fiennes, Felicity Jones, Kristin Scott Thomas, Tom Hollander, Joanna Scanlan, John Kavanagh.
Directed by Ralph Fiennes.
While The Invisible Woman might sound like a science-fiction sequel to The Invisible Man, it is nothing of the kind. Which means that it is probably an unsatisfactory title, although it derives from the book by Clare Tomalin. The invisible woman this time is Ellen Lawless Teman, the mistress of author, Charles Dickens.
For audiences interested in Dickens, not only his books and celebrity but his private life, this film will be of great interest. For those less interested, it may prove tedious, even boring. The reason for this is that the film takes us back into the 19th century, immerses us in England in the latter part of the century, at Margate on the coast, in London. The costumes and decor, production design are meticulous in their re-creation. The language and the dialogue is that of the period, that of Dickens.
It is also the style of film-making that will entice or repel. It is the very antithesis of the contemporary fast-paced action film and slick and rapid editing. Here we have long takes, a kind of portraiture for the characters, filmed from different angles, with screen compositions, characters at the side of the screen helping us to observe them as well as their background. Many of the sequences are long takes, dwelling on the characters and situations. On some occasions there is a musical score, but very often the long takes are presented in silence for our contemplation.
The screenplay is by Abbi Morgan, who wrote such films as The Iron Lady and Shameless. The direction is by Ralph Fiennes, his second film as director (after his Coriolanus). He is clearly a man of fine taste in the way that he has created his world, the world of Dickens and of Nellie Ternan.
And he himself plays the central role, Ralph Fiennes’ appearance being recognisable but different, through the effect of his hair and beard style, that of the portraits of Dickens himself. He has the opportunity to put on a play and star in it, be a celebrity to his many fans, read some of his work, and be the author in the public eye. But he also has the opportunity to be the private Dickens, the husband with the large number of children, separating from his wife, wooing Nellie Ternan, falling in love with her, sharing his life with her, grieving over the death of their child, finally installing her in a house in London so that he could keep his relationship with her private to preserve his public image.
This means that the film does depend on the performance by Felicity Jones as Nellie. We first see her after Dickens’ death, married, walking the beach at Margate, putting on a play in the local school. These scenes recur but the main focus is on her past, her life with Dickens. We readily believe that Felicity Jones is Nellie. She is supported very strongly by her mother, played by Kristin Scott Thomas, a more genial role then she usually plays.
Something of the contradictions of the Victorian era and its formalities and properness is suggested by this relationship, as well as the stance of author, Wilkie Collins (Tom Hollander), who does not believe in marriage and lives with his partner and child – something which Nellie is shocked at.
An important focus for the film is that of Dickens’ wife, Catherine, portrayed as a rather large and dowdy woman, mother of his many children, seemingly unresponsive to him, accepting his life of celebrity and being present at so many functions. But, Dickens falls out of love with her and, in an extraordinary gesture, sends a letter to The Times explaining the rumours about his relationship with Nellie and his separation from his wife, seemingly oblivious to the pain that this letter causes her. Joanna Scanlan portrays Catherine perfectly and has several very moving scenes which make an impact, where she has to take a birthday gift to Nellie on behalf of her husband and speaks plainly to Nellie about him. The other sequence is her son reading out the letter in The Times and her weeping.
For those who are absorbed by this story and filmmaking, there is much to reflect on, a different era, its code of morals, private lives, as well as the genius of Dickens as an author and his celebrity in his times.
1. Audiences and their interest in Charles Dickens, his career, celebrity, personal life?
2. The film as a 19th-century experience, production design, costumes and decor, locations, Margate and the coast, London? The look and feel of the period?
3. The musical score, restrained? The many silences during key situations?
4. The editing, the pace, the antithesis of the fast editing and action movies? Long takes? Angles for portraiture? The compositions and the positioning of characters, like paintings, portraiture, the slower pace of life in the period?
5. How apt was the title? Whether Nellie was truly invisible?
6. The framework, Nellie walking along the beach, climbing the hill, going to the school, with Mr Benham, the play, her directing the children, in the house, her marriage to George? Speaking about Dickens, pretending she knew him as a girl, her knowledge of him, of his books, the manuscripts, the baby’s lock in the book?
7. The recurring scenes with Nellie in the 1880s? The end, quiet, Mr Benham, at the church, his speaking, offering to hear her, her telling him the truth, being at peace, returning to George, her son in the play, her love for George, happy resolution for her life?
8. Dickens, the 1860s, his writings by this stage, his celebrity status, people knowing him, conversing with him about his books? Manchester, the staging of the play, Mrs Teman and her daughters arriving, the rehearsals? Wilkie Collins and his being late, having to cut the play? The audiences, the performance, the dying sequence with Dickens, the cutting of the epilogue – and Nellie reciting it at the end of the film, an epitaph the Dickens?
9. Mrs Teman, her story, marriage, husband, each of her daughters, acting, the roles, performance, the prospects for the girls? To be a nanny, to marry? A sympathetic mother? The realisation of the truth about Dickens and Nellie, her being pragmatic? The fund-raiser, counting the money, Dickens and Nellie talking, her mother sleeping? The bond with Dickens, each falling in love?
10. The introduction to the Dickens family, Charlie and his acting? Catherine and the many children, all in attendance? The home scenes, later on Dickens playing with the children? The initial impression of Catherine, larger, matronly, patient, sitting in the audience, her awareness of what was happening, questions as to why Dickens would be going to London so early, the importance of the scene of Dickens entering the room, her being naked and urging him away? Her reserve? In the bed, talking? Dickens’ absences? The significance of the scene where she brought the gift of jewellery to Nellie and had been asked to by Dickens? The two talking, audience compassion for her? The scene when the son brought the Times, reading out the letter, her listening, bursting into tears, her hurt? The separation and her life?
11. Dickens, writing the letter to the Times, frank, the issue of rumours, his openness, his secrecy? His hurting his wife? Telling her that he could keep Nellie a secret?
12. Historical speculation about his relationship with Nellie, platonic or not? The screenplay and the sexual encounters, Nellie’s pregnancy, going to France, the difficulties with the birth, the baby stillborn? The effect on Nellie? Her grief, morose, coming to terms with her life? Dickens cutting the lock of hair?
13. Wilkie Collins, his writings, the play, his partner and child, Dickens at home with them, his not marrying? Nellie and the discussion with his partner, the disapproval, explaining to Dickens in the coach? Her being very proper, and the effect on her own situation?
14. The lyrical scenes with them together, at home, pregnant, going to friends, celebrations? Dickens and his continued appointments and promotion? The effect on Delhi? Reading Great Expectations and discussing the ending, Pip and Estella? Nellie and her reaction to the birthday gift of the jewel and the talk with Catherine?
15. Nellie, over time, the rumours, reputation, mistress for many years? Dickens and his compromise, getting the house, the discussion about often he would visit her?
16. The impact of the train wreck sequence, the effect on Dickens, on Nellie, retrieving his page, being asked to help, with the brandy, helping the injured?
17. Insight into Dickens, his work, his celebrity?
18. Audience response to Dickens, to the film, some finding it absorbing, others boring?
