I am not sure about the rest of the world, but certainly our Hollywood stars will have a reason to be dreaming in gold this Sunday for the 88th Academy Awards ceremony. It will reward the best films, actors and directors of 2015, at the Dolby Theatre in California.
The film that has the most nominations is The Revenant. I admit I tried to watch it. I got to the part where Glass (Leonardo DiCaprio) witnessed his son’s death and was abandoned by his ex-comrades and then I capitulated. I really wasn’t in the mood to see all the sorrow and bad luck crowded into one film. Almost everyone is convinced that Leonardo will be climbing some stairs at the ceremony – I personally think that the Oscar will keep running away from him – and I think this film had enough publicity. Prepare for a subjective piece.
So I focused my interest on The Danish Girl instead. When I first read the synopsis, it reminded me of Billy Wilder’s movie Some like it hot. How come? For that in the latter, it was a bold move to dress Tony Curtis and Jack Lemmon as women. And I think The Danish Girl has some of the blood that was flowing through the veins of Billy’s film.
The idea in The Danish Girl is simple: it is the story of a persevering young man that desires to be himself. “I want to be a woman”, he says, even if that is in disagreement with the mentality of the time – interbellum. It is his quest of understanding femininity. Let’s just observe Einar’s interest in studying and replicating other women’s movements. Femininity is presented as the elegance in posture, the daintiness and gracefulness in a woman’s movements. The most persistent feeling I got throughout the film was the fluid delicacy that emanated from Einar. Along the way, the film uncovers the fragility and devotion lying in a woman’s heart. In the end, I think this is why society cannot come to terms with a man’s choice of feeling a woman. But we need to realise that effeminacy does not imply lack of courage, independence and power. Intriguingly, it took just a little game to initiate this impactful revelation.
I also hope you will have some time to look at the Foreign Language Film section to refresh yourself with a brand new testament that embraces a war which gets fenced by a mustang searching in the labyrinth of Sau for his son with only one thought in mind – ‘Viva Theeb!’.
Corina Motofeanu writes about cinema for The Manchester Magazine. She is a first-year Life Sciences student at the University of Manchester