So I
did see it. I debated – even apart from
the cis-playing-trans uncoolness, the reviews were fairly lukewarm – but in the
end, I decided to see it. First, I can’t
have an opinion on something I haven’t seen.
Second, it sounds like Alicia Vikander may likely win best supporting
actress. Finally, the only other option
I had for a third Oscar film this weekend was 45 Years, and Charlotte Rampling’s remarks on #OscarsSoWhite have
lessened my interest in that film.
Einar
Wegener, celebrated landscape painter, is on the edge of a precipice. Einar’s wife Gerda recently needed Einar to
fill in briefly when a ballerina, a model for one of her own paintings, didn’t
show. Wearing stocks and slippers, legs
draped with tulle, something that’s hidden inside Einar for a very long time
begins to unlock: Einar is trans. At first, Gerda thinks her husband’s newly
presented femininity is a game they play, for titillation or amusement, but
Einar is on her way to truly finding herself for the first time. As she goes deeper and deeper into living as
Lili, her “play” identity, she hopes she can make Gerda see her for who she
really is.
I’ve
heard this film described as a transgender movie for cisgender people, and I’d
say that’s accurate. In addition to
using all the “trans tragedy” tropes (extreme fear/shame, horrifically barbaric
“medical treatments,” teary conversations about identity, violent transphobic
brutes, and numerous “transform in front of the mirror” scenes,) the trans
basics are also a bit muddled. Lili and
Gerda speak of “Einar” and “Lili” as if they’re two separate people and Lili “becomes”
one or the other depending on how she’s dressed. To be fair, the 1920s didn’t really have words
for transgender identity, so I could buy Lili and Gerda not knowing how to talk about what they’re going
through. And on the first point, I don’t
mean to downplay violence, medical ignorance, or psychological turmoil;
obviously, these things weren’t uncommon then and, for many, they continue
today. However, these struggles are often
thought of as the trans narrative
that it’s a bit, “Of course this is
the story they elected to tell.” The
story does get points for its depiction of Gerda’s complicated journey and the
ultimate message that Lili’s only choice is to be who she is.
On a
positive note, the film looks exquisite.
The costumes are to die for (Lili lived in a terrible era for trans
women’s rights but an excellent one for trans women’s wardrobes,) and the
Denmark landscapes are gorgeous. I like
the way the paintings are realized in nature.
Alicia
Vikander (lately of Ex Machina) is
very strong here as Gerda, struggling to find the best way to love her husband
as she comes to grips with what’s going on.
And lead-actor-nominated Eddie Redmayne gives a classic Oscary
performance as Lili. That sounds
dismissive, and it is a bit. While he
obviously does well in the role, I’m distracted by the Oscar-baity-ness of it,
the unfairness of his casting, and my overall iffyness with the character. I don’t begrudge Lili being generally shy and
terrified of what she’s doing in asserting her identity, but it also takes guts
to break from society’s conventions like that, and unfortunately, a lot of Lili’s
characterization is so timid and fragile that we don’t get much chance to see
how tough she obviously is.
Warnings
No comments:
Post a Comment