Synopsis: The extraordinary true story of eccentric British artist Louis Wain, whose playful, sometimes even psychedelic pictures helped to transform the public’s perception of cats forever.
Stars: Benedict Cumberbatch, Claire Foy, Andrea Riseborough, Toby Jones, Stacy Martin, Sharon Rooney, Hayley Squires, Aimee Lou Wood, Adeel Akhtar, Julian Barratt, Asim Chaudhry, Indica Watson, Sophia Di Martino, Taika Waititi, Olivia Colman
Director: Will Sharpe
Running Length: 111 minutes
TMMM Score: (5.5/10)
Review: As has often been the cast for the past several years, actor Benedict Cumberbatch has two movies that are arriving near the end of 2021 that are playing at a number of film festivals. One film is a bit elusive and hard to see unless you are attending one of the most prestigious events. The other one is The Electrical Life of Louis Wain. One film is getting the actor much acclaim and buzz about another Oscar nomination after his stoic turn in 2014’s The Imitation Game. The other movie is The Electrical Life of Louis Wain. Available at quite a number of film festivals over the past several months, you can see Amazon Studios and its other producers fighting a losing battle to get some traction on The Electrical Life of Louis Wain, the secondary Cumberbatch movie. However, with Jane Campion’s The Power of the Dog readying for release on Netflix, it’s lights out for this twee bit of falderal that sparks early only to be undone by it’s overreliance on puffy artistry on the back end.
Look, before I saw this biographical drama, I had no clue the English artist Louis Wain played such an integral role in helping the domestic cat gain such popularity in Europe through his artwork. As a dedicated cat lover (an animal that has a box for its own litter which it also covers for you, keeps it distance when it’s not in the mood to be bothered, and can tell when bad weather is approaching is A-OK in my book!) I am ever in his debt for normalizing the attitude toward cats in his country because many of those feelings became popularized the world over. I was unfamiliar with his art before a viewing of director Will Sharpe’s film and the recreation of his style and technique through the screenplay Sharpe co-wrote with Simon Stephenson (Paddington 2) were fascinating bits of mechanics to watch – it’s everything else that surrounded it that became so befuddling.
Perhaps it’s the feeling that Sharpe was grasping for a style and tone that didn’t completely make sense all the time. The opening stretch and final hour are flighty bits of quirkiness that feel curated and calculated, like what someone attempting to be irreverent with the life of a colorful character would put on screen. By all accounts, the mental health issues that plagued Wain and various members of his family were present for a long while but only presented themselves rarely over the years until they became more serious in his older days. It was during his romance of the family governess (Claire Foy, Breathe) when Wain found his true happiness and it’s also when Sharpe’s movie gets into its best and most easily accessible mode.
The early marketing materials and trailers I saw of the movie suggested the Foy/Cumberbatch relationship was going to be far more rambunctious, so I wasn’t particularly looking forward to it. Yet it turned out to be my favorite parts of the movie. The two have such a natural ease of working together and I can’t help but think that it’s Foy that consistently brings out the best in her male costars, melting some icy actors down and letting audiences see the softer sides. She absolutely lets us see another side of Cumberbatch, a far more tender one that finds himself caring for another when he previously felt like that part of his life would never come to pass. These are the meat the film feasts on…but the meal can’t last forever and before too long it’s back to the same old ticks and tricks once more.
I’m all for biographies that color outside of the lines (and The Courier’s Suzie Davies production design along with Paddington’s Erik Alexander Wilson’s cinematography are never lacking for bold color choices) but it has to circle back to a point – something The Electrical Life of Louis Wain takes an awful long time to get to. Along the way Sharpe stops to create several beautiful moments (a shot of Foy and Cumberbatch sitting in a meadow is gorgeous) but it’s balanced with far too many repetitive scenes of Wain fighting with one or more of his disapproving sisters.
Controversially, I’m not as sold on Cumberbatch as most are. I loved him for Sherlock but have since found him to be decidedly hit or miss with his work, feeling that perhaps he’s more limited in his range than we’d care to admit. He’s not bad in this new film but he’s been better in others that are about far less important people and ideas. Fans of his will want to check out The Electrical Life of Louis Wain, all others should save their Cumberbatch Cinema of 2021 for The Power of the Dog.
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