In recent times the period film has had a history of being overwhelmed by the lavish costumes and sets. For Ralph Fiennes' second feature "The Invisible Woman," the director has avoided all the trappings of this genre and has created a film rich and detailed that may be harmed by its glacial pacing.
The film tells the story of Nelly Ternan (Felicity Jones) who becomes the secret lover of Charles Dickens (Fiennes) until his death.
The film's structure is nonlinear as Ternan first appears as an older woman who has become a teacher. However she hides her identity from society. The film then jumps to the first time she met Dickens as a younger woman. The plot begins to jump back and forth as Ternan remembers certain parts of the life she lived with Dickens.
Fiennes crafts a film that is so attuned to the details of the period. The sets are elaborate and stylish while the costumes by Michael O'Connor use a dark palette to emphasize the atmosphere and tone of the film. The attention to Ternan's costumes also shows the character's development. The older Ternan always wears black and suggests she has a wound that she has been unable to close. The younger Ternan however begins with pale pinks and blues which increasing become darker and duller as she gets into the affair with Dickens.
The cinematography by Rob Hardy emphasizes a painterly quality. One of the most fascinating shots is showcases the horse races. The camera begins on a spectator and quickly dollies out revealing a tent and little by little reveals the audience, Dickens and Ternan. At the end of the shot Hardy holds for a bit while the actors remain still as if they were getting a picture taken; it almost reminds the audience member of some of Stanley Kubrick's images in "Barry Lyndon." The opening shot of the film emphasizes the sand and bright blue sea and is immediately contrasted by the black dress Ternan wears. Additionally Hardy pays attention to the landscapes and the sets without ever veering from the actors' performances or from the plot. The camera work also puts particular emphasis on each of the actors' faces and their small gestures by holding the shots for lengthy periods rather than cutting quickly.
Ilan Eshkeri's score features rich music at one point but also some turbulent and rhythmic cues that are emphasized by the cello and violin.
The performances in the film are also touch notch, with Jones stealing the spotlight every time she's onscreen. As a young girl Jones' Ternan always has a smile and is enthusiastic about her chats with Dickens. She is lively and a bit coquettish. However once she enters the affair with Dickens, Ternan's smiles and liveliness turn to sorrow and sadness. She no longer speaks to anyone and Jones makes her seem as if Ternan is ashamed of her behavior. As an older woman Jones shows a woman who is broken and is dying to break free from all the secrets she has kept throughout. Jones emphasizes this through her fragile movement and her eyes which always hint at a moment of catharsis and release.
Fiennes brings his imposing figure to the screen in a complex turn. While Dickens is committed to his relationship with Ternan there is also a sense that he cares more for his popularity and his ego. The scene after the races shows Dickens being greeted by a number of people. Dickens marvels at his popularity and embraces the crowd while ignoring those who are with him. During the scenes when Dickens reads to the public, Fiennes adds a comical yet lively touch. The scenes also emphasis the crowd's adulation for the author and way Dickens responds to them. However the idea is trumped the minute he sees Ternan. During a scene in a study when Ternan returns home angry, Dickens embraces her and kisses her with warmth. Fiennes' eyes show concern and devotion for the character even though Jones shows the opposite - fear.
The other standout in the film is Scanlon. Her character Catherine is always isolated from the rest of the world. When she is first introduced by her husband, Dickens forgets to mention her but she is not fazed by it. Then in a party sequence while everyone is dancing, Catherine remains seated quietly. Scanlon does not revert to crying or being the victim; instead she shows a character who is suffering internally. The scene when Catherine must bring a ring that Dickens made for Ternan demonstrates both anger but also sympathy for Ternan. Scanlon looks at Jones with desperation but restrains herself.
Kristen Scott Thomas brings her elegant and charismatic acting skill to Frances Ternan while Tom Hollander does a solid job with his role as Wilkie Collins.
While the craft is wonderful the film may become a bit slow. The actors barely move in the frames and the use of the sustained takes can become tedious.
While it may be too slow for a larger audience, Fiennes' "The Invisible Woman" is an example of how period films should be crafted and one that will attract a smaller niche audience.
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