Joanna Scanlan

joanna-scanlan-in-the-invisible-woman

Over the weekend, our own Christopher Campbell went to bat in a big way for The Wolf of Wall Street co-star Margot Robbie, campaigning to well, start a campaign to get some awards season love for the breakout star in a film laden with talent. Campbell’s claims that Robbie is deserving of recognition for her work in the film are spot-on, as the emerging actress really makes her role as Jordan Belfort’s (Leonardo DiCaprio) second wife her own, turning a bleached-out bimbo into a flinty, funny lady who is one of the few people to get out from underneath Belfort’s abusive thumb by her own agency. Robbie, however, isn’t the only supporting star to endure domestic abuse on the big screen this year in a highly memorable way – elsewhere, Welsh multi-hyphenate Joanna Scanlan worked similar magic in another period piece about a wildly out of control man who ruins lives left and right. In Ralph Fiennes’ The Invisible Woman, the personal affairs of Charles Dickens (Fiennes) might not have the same financial implications as Jordan Belfort in WOWS, but the emotion runs deep – at least as it applies to his wife, Catherine Dickens (Scanlan).

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The Invisible Woman

*Editor’s note: Our review of The Invisible Woman originally ran during this year’s NYFF, but we’re re-posting it now as the film opens Christmas day in limited theatrical release.* It’s best to assume that when Ralph Fiennes took on the story of Charles Dickens (Fiennes) and his teen lover Ellen “Nelly” Ternan (Felicity Jones) for his The Invisible Woman, he didn’t intend for the film’s big takeaway to be that the beloved British author was basically a big jerk, at least when it came to matters of the heart. And yet, that’s the unexpected result of the apparently fact-based tale, a “romance” devoid of emotion that fails to capture any of the spirit or intelligence of Dickens’ own works. While the film has some very compelling source material, including a book by Claire Tomalin and a script from Abi Morgan (who penned the wonderful Shame and the laughably bad The Iron Lady), it ultimately falls spectacularly flat. Cold, emotionless, and strangely paced, the film thankfully features breathtaking cinematography and one hell of a supporting performance by the real invisible woman in Dickens’ life – his own wife. But this is meant to be a film about a life-changing romance, and it simply doesn’t deliver on that front, no matter how many times Jones wanders a beach with a haunted expression on her face or Fiennes acts out in a horrible way simply because he’s a man in love.

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published: 11.21.2014
D
published: 11.21.2014
B+
published: 11.19.2014
C+
published: 11.19.2014
B-, C


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