The Theory of Every Thing

Theory_of_Everything

شاهدت بالأمس فيلماً درامياً رومانسياً رائعاً (كنت قد قرأت عنه) عن حياة الفيزيائي الشهير ستيفن هاوكينغ، الذي قدم نظرية جديدة في الفيزياء ويعتبر أحد عباقرتها المعاصرين، لكن ما يميز قصته أنه أصيب في مرحلة مبكرة من الشباب بمرض نادر (نيورن) وهو مرض يؤدي إلى ذبول الجسم والعضلات بالتدريج، ويصل إلى فقدان الحركة والنطق، وبالرغم من ذلك تمكن من تقديم أطروحات جديدة غير مسبوقة في الفيزياء حول عامل الزمن، وصولاً إلى محاولته بناء نظرية عن بداية الكون عبر معادلة بسيطة تفسر كل شيء (نظرية لكل شيء).
الجميل في الفيلم أنّه يصل لاحقاً وفي مرحلة متقدمة جداً من محاولات نفي الإله إلى الإيمان به، أما النظرية التي ألمح إليها في نهاية الفيلم التي تفسر كل شيء فهي الأمل، وهو مؤلف كتاب "مختصر تاريخ الزمن"، والفيلم مستوحى من كتاب لزوجته السابقة، التي ساعدته كثيراً في إبداعه وصراعه مع المرض، أنصحكم بأن تشاهدوا هذا الفيلم الرائع والجميل، فهو قيمة جميلة فنياً وفلسفياً

 

he Theory of Everything is a 2014 British biographical romantic drama film[6] directed by James Marsh[1] and written by Anthony McCarten. The film was inspired by the memoir Travelling to Infinity: My Life with Stephen by Jane Wilde Hawking, which deals with her relationship with her ex-husband theoretical physicist Stephen Hawking, his diagnosis of motor neuron disease, and his success in physics.[1][7]

This is the sixth feature film directed by Marsh. Eddie Redmayne and Felicity Jones star with Charlie Cox, Emily Watson, Simon McBurney, and David Thewlis featured in supporting roles.

The Theory of Everything had its world premiere at the 2014 Toronto International Film Festival and was released in theaters on November 7, 2014. Focus Features will distribute the film in the United States, Entertainment One Films will distribute the film in Canada, and Universal Pictures will distribute the film in remaining territories

Critical reception

The Theory of Everything received praise for its acting (particularly for Redmayne and Jones), Marsh's direction, McCarten's screenplay, Delhomme's cinematography, Jóhannsson's musical score, and its production values.

Film review aggregator Rotten Tomatoes reports that 83% of critics gave the film a positive rating, classifying it as "Certified Fresh", based on 138 reviews with an average score of 7.4/10. The site's consensus states: "Part biopic, part love story, The Theory of Everything rises on James Marsh's polished direction and the strength of its two leads."[38][39] Metacritic, another review aggregator, assigned the film a weighted average score of 72 (out of 100) based on 45 reviews from mainstream critics, considered to be "generally favorable". [40]

Catherine Shoard of The Guardian praised the film and particularly Redmayne, writing, "Redmayne towers: this is an astonishing, genuinely visceral performance which bears comparison with Daniel Day-Lewis in My Left Foot." [41]

Lou Lumenick wrote, in his review for The New York Post, "tremendously moving and inspirational." [42] Justin Chang of Variety noted praise, remarking, "A stirring and bittersweet love story, inflected with tasteful good humor ..." He continued by praising the "superb performances" from Redmayne and Jones, as well commenting very positively about Johansson's score, "[...] whose arpeggio-like repetitions and progressions at times evoke the compositions of Philip Glass", whilst praising John Paul Kelly's production design and Steven Noble's costumes.[43] Leslie Felperin of The Hollywood Reporter remarked, "A solid, duly moving account of their complicated relationship, spanning roughly 25 years, and made with impeccable professional polish." Praising Delhomme's cinematography as "lush, intricately lit compositions [adding] a splendor that keeps the film consistently watchable" and Johannsson's score as "dainty precision with a ineffable scientific quality about it." [44]

The Daily Telegraph  '​s Tim Robey granted the film a positive review, stating that, "In its potted appraisal of Hawking's cosmology, The Theory of Everything bends over backwards to speak to the layman, and relies on plenty of second-hand inspiration. But it borrows from the right sources, this Theory. And that's something" while praising Redmayne's performance, McCarten's script, and Delhomme's cinematography.[45]

Deadline.com  '​s Pete Hammond marked McCarten's script and Marsh's direction for praise, and of the film's Toronto reception, wrote: "To say the response here was rapturous would not be understating the enthusiasm I heard — not just from pundits but also Academy voters with whom I spoke. One told me he came in with high expectations for a quality movie and this one exceeded them."[46]

The film was not without its criticisms. Alonso Duralde of The Wrap stated that "Hawking's innovations and refusal to subscribe to outdated modes of thinking merely underscore the utter conventionality of his film biography."[47] Eric Kohn of Indiewire added that "James Marsh's biopic salutes the famous physicist's commitment, but falls short of exploring his brilliant ideas."[48] Dennis Overbye of the New York Times noted that "...the movie doesn’t deserve any prizes for its drive-by muddling of Dr. Hawking’s scientific work, leaving viewers in the dark about exactly why he is so famous. Instead of showing how he undermined traditional notions of space and time, it panders to religious sensibilities about what his work does or does not say about the existence of God, which in fact is very little."[1] Writing for The Guardian's film blog, Michelle Dean argues that the film does a disservice to Jane Wilde Hawking by "rearrang[ing] the facts to suit certain dramatic conventions...The Theory of Everything is hell-bent on preserving the cliche."[49]