GENIUS

UK, 2016, 97 minutes, Colour.
Colin Firth, Jude Law, Nicole Kidman, Laura Linney, Guy Pearce, Dominic West.
Directed by Michael Grandage.

Genius is very well-crafted, the first film by theatre director, Michael Grandage.

While this story is American and the central characters are American, it is interesting to note that it is a British production, three of the main actors British, two Australian, with only one American actor in the central role.

The period is the late 1920s to the mid 1930s, a significant period in 20th-century American literature, and this is a film about this literature, especially novels.

The title refers to the novelist who, died young, Tom Wolfe. The title could refer at first to Max Perkins, an expert editor at the publishing company, Scribners, friend of many of the novelists of the time, relied on to shape manuscripts aspects into publishable form which enabled writers to receive critical acknowledgement as well as large sales.

The film opens showing grim New York streets in 1929, echoes of the Depression. In the street is a highly excitable young man, who eventually goes into Max Perkins’ office, talking incessantly, scattered concentration, something of an eccentric personality. He is Tom Wolfe who is bringing a large manuscript for Perkins to read, rejected by most publishers but endorsed by the wife of a businessmen who has become his poetry and his lover. Perkins reads the manuscript on the train going home, at home where he lives comfortably with his wife and several daughters, entranced by the manuscript, calling in Wolfe who assumes that he is being rejected again but, in fact, is accepted.

One of the main strengths of this film is the casting, with Colin Firth as his most serious as Max Perkins, Jude Law giving a tour-de-force performance as Wolfe, also the genius of the title. Nicole Kidman is the wife of the businessmen, working as a theatre designer, separated from her husband but living with Wolfe, Aline Bernstein. Mrs Perkins is played by Laura Linney.

A lot of the film shows editor and novelist working intensely, examining every word, exploring every character, cutting a great deal of the text, Perkins caught up in the quiet excitement of the editing, Wolfe always exuberant in collaborating with Perkins and depending on him more and more. The book is published, is a great success and critically acclaimed, Look Homeward, Angel.

A great deal of the film focuses on the two years in which the two collaborated on the next novel, brought originally into the office in bundles of tied pages, boxes, with Perkins reading, a group of typists working on the manuscript, intense work nights, which keeps Perkins from home and his patient wife and daughters, keeping Wolfe from Mrs Bernstein. Perkin’s wife is frustrated but bears up, especially when her husband is unable to go on a holiday with the daughters who dote on him. Mrs Bernstein expresses her frustration, especially when Wolfe is so self-preoccupied that he cannot bring himself to go to the theatre for her premiere. In the meantime, the two women meet and have a discussion about the two men, Perkins always wanting a son and Wolfe seeming to be a surrogates son, and the novelist needing some kind of controlling father-figure.

With the publication of the second novel, Wolfe is again a critical success but has been apprehensive and escapes for a holiday in Paris. Encouraged by reviews and sales, he returns, with Max welcoming him at the boat and Wolfe taking him to see the first apartment where he lived in New York City. But, a tension grows between the two, other publishers interested in tempting Wolfe away from Scribner and Wolfe seriously considering this.

As part of the background, there are several scenes with Perkins and his friend, F.Scott Fitzgerald, played by Guy Pearce. Fitzgerald’s abilities for writing seem to be drying up and he is preoccupied with the mental deterioration of his wife, Zelda. There is a very awkward scene, when Wolfe speaks completely insensitively to Zelda and later to Fitzgerald about his wife.

Ernest Hemingway is also mentioned and there is a small scene where Perkins goes marlin fishing with Hemingway, portrayed by Dominic West, and they discuss Wolfe’s talent.

While audiences may have some knowledge and appreciation of the novelist, who died young and unexpectedly in 1935, the film offers an opportunity to meet Max Perkins, appreciate his talent, which celebrates him in his shaping of works of art but, sometimes, made him wonder whether this was actually destroying what the novelists originally intended.

A film for literature lovers.


1. A film about the US, literary heritage, and early 20th century, the tradition of F. Scott Fitzgerald, Ernest Hemingway, Tom Wolfe – and his comparatively small output and early death? Audience knowledge of Wolfe?

2. A British production, three British actors, two Australians portraying Americans? Made in the UK?

3. New York City, the opening, the sidewalks and feet, black-and-white, transition to colour? 1929, grim, streets and cars, poverty rows, Scribners, the interiors and offices? The trains? Home and family, apartments and theatre? The touch of Paris? The Florida and the marlin? The finale, the beach, collapse? The hospital? The musical score?

4. The title, Tom Wolfe as a genius? But also Max and his expertise, his editing skills, shaping the work? Or his fear of destroying it?

5. Colin Firth as Max Perkins, sedate, the detail of his editing, precise, wearing his hat in the office and at home – and taking it off only after Tom’s death? The staff? Being asked to read the manuscript as a favour, on the train, at home? The impact? His wife, love, five daughters? The interview with Tom, in the office, agreeing to publish? The opinion by his wife later, that he always wanted a son? His treatment of Tom, discipline, enthusiasm?

6. Jude Law as Tom Wolfe, in the street, words and power, writing, creating, Max reading aloud the opening of the novel? Tom exuberant, extrovert, incessantly talking, taking over, his being refused publication, enjoying Max’s or acceptance? His relationship with Aline, her promoting Tom?

7. The experience of shaping the manuscript, the editing, cutting, the motivations change, developing the characters, retaining the political language? The collaboration, the effect on each? Publication, success – and the title, Look Homeward Angel?

8. Aline’s story, Mrs Bernstein, husband, child, yet leaving everything to be with Tom, her anger? The meal, the control? With Max’s wife, the discussions about the truth, the success of the novel, dedication to her, her interpreting it that that was the cut-off? Her demand on Tom to come to the Premier, his refusal? The melodramatic scene, the pills? The scenes at the apartment, the telling the truth to Tom, yet loving him? Her insights into how Tom would treat Max?

9. Max’s wife, her theatre plans, the five daughters, the meals, Tom and his visits, relating to the daughters? His negative comments on theatre? Her talk with Aline? The camping holiday, unable to get Max to give up the work? Their return? His coming home after the funeral and the bond?

10. The second manuscript, the boxes and boxes, Max reading, the range of secretaries typing, the cutting, the work over two years, the enthusiasm, details about paragraphs e.g. about the blue eyes? Max and his demands? Tom and his passion? Taking Max to the Jazz evening, the riff on the hymn? The two women at the bar? Finishing the manuscript, Tom going to Paris, the reviews, max communicating? The boat back, Tom taking Max to see the first apartment and reminiscing about the past?

11. The scenes with Scott Fitzgerald, character, his success, not receiving many royalties for The Great Gatsby? His relationship with Zelda? Zelda needing an institution? Her coming out and her sitting in mobile at the dinner, Thoms insult? Scott and his dilemmas, the support of Max going to Hollywood, Tom coming to see him in California, apologising for his harsh words about Zelda?

12. The Hemingway sequence, fishing, discussing the books, Hemingway going to Spain, the photograph with the marlin?

13. Tom, wilful, self-absorbed, hurting Aline, the meal and hurting Zelda, the rivalry with the other novelists? His receiving offers from other publishers? Aline taunting him that he would take them?

14. On the beach, his collapse, hospital, the tumours, the bewildered visited his mother, his memories of his mother and her influence, the difficulties with his father, his consciousness and writing the letter to Max? His death? The funeral?

15. Max in his office, reading the letter from Tom, words of appreciation and thanks?

16. An interesting perspective on American publishing, editing, and the significant authors of the 1920s and 1930s?