Arts & Entertainment
‘Danish Girl’ masterfully realized
Trans-themed biopic is A-lister Oscar bait
Eddie Redmayne in ‘The Danish Girl.’ (photo courtesy Focus Features)
It all starts out in one seemingly ordinary moment.
Prima ballerina Ulla is once again late for a sitting with portraitist Gerda Wegener (Alicia Vikander). Frustrated, Gerda asks her husband, famous landscape artist Einar (Eddie Redmayne), to sit in for their friend since she’s only working on the delicately extended foot. It opens today (Friday, Dec. 11) in the D.C. area.
Einar puts on the stockings, crams his feet into the slippers and holds the dress against himself as Gerda picks up her brushes and starts to paint. Einar slowly begins to caress the fabric as long-suppressed thoughts and emotions begin to emerge. Thus begins a remarkable journey for a devoted couple and a remarkable collaboration for a talented cinematic team.
Based on the largely forgotten true story of transgender pioneer Lili Elbe, one of the first people to undergo gender-reassignment surgery, “The Danish Girl” is an exceptional film. Director Tom Hooper (“The King’s Speech” and “Les Misérables”) coaxes powerful performances out of his top-notch cast and collaborates smoothly with his entire creative team.
The movie, set mainly in Copenhagen and Paris in the 1920 and 1930s, looks splendid. Working seamlessly with cinematographer Danny Cohen and production designer Eve Stewart, Hooper makes the most of place and period, contrasting the rigid lines of Copenhagen (and Einar’s harsh airless landscape paintings), with the color and light of Art Nouveau Paris which supports Gerda’s emergence as an artist and Lili’s emergence as a women.
The script by Lucinda Coxon, based on the novel by David Ebershoff, is supple and sensitive, as eloquent when the actors are silent as when they are speaking. Several key sequences unfold wordlessly. Coxon does a marvelous job balancing contemporary sensitivities about gender with the realities of the time period. With incredible subtlety, she makes it clear that Lili is not gay man in drag or a straight man donning a costume, but a woman becoming her true self.
Redmayne’s performance is even more powerful than his Academy Award-winning portrayal of wheelchair-bound scientist Stephen Hawking, due in part to a stronger script and cast. With the support of movement choreographer Alexandra Reynolds, who also worked with him on “The Theory of Everything,” Redmayne has developed an amazingly detailed physical vocabulary that guides him from the rigid mask of masculinity that constricts Einar to the freer expression of femininity that allows Lili to flourish. Redmayne also displays an emotional vulnerability and transparency that makes Lili’s journey incredibly compelling.
Vikander’s performance as Gerda is equally stunning and multi-faceted. As the movie opens, Gerda is deeply in love with Einar, but is also somewhat jealous of his success. He has found artistic satisfaction and popular acclaim with his detailed landscapes; she is frustrated with her attempts at conventional portraiture. When she convinces Einar to pose for her dressed as a woman, it starts as a game, but it quickly turns more serious. She finds a life-long muse, but ultimately loses a husband. With her cigarette holder clenched tight, sometimes in concentration, sometimes in frustration, sometimes in flirtation, Vikander (“Ex Machina”) brings a fascinating character to incandescent light.
The supporting cast is also excellent. Amber Heard (“Magic Mike XXL”) is a delightful find in the surprisingly pivotal of Ulla. The hard-working but fun-loving ballerina serves as a godmother of sorts to the emergent Lili. Her character helps to establish the strong bond between Einar and Gerda, but she is also the first to recognize Lili in public and recommends the clinic where Lili can finally find supportive care. Heard’s light-hearted performance brings a welcome humor and humanity to the proceedings.
Matthias Schoenaerts (“Far From the Madding Crowd”) is sleek and dapper as Parisian art dealer Hans Axgil, a childhood friend of Einar’s who helps Lili and Gerda through their transitions. Out actor Ben Whishaw (“Spectre,” “Suffragette,” “In the Heart of the Sea”) is engaging as a gay bohemian who initially misunderstands Lili’s intentions, but then becomes a supportive friend and guide. Adrian Schiller is charming as the windy but well-connected art dealer Rasmussen and Sebastian Koch is warm and wise as the doctor who finally comes to Lili’s rescue.
“The Danish Girl” may well be the finest LGBT release of 2015, although the year it is not over yet. It is definitely already in contention for well-deserved recognition in the 2016 awards races. Director Tom Hooper and a talented cast and crew have cast a powerful light on a little-known piece of LGBT history, and their moving and beautiful movie makes us reflect on how we are still learning about the mysteries of the human spirit.
Team DC, the umbrella organization for LGBTQ-friendly sports teams and leagues in the D.C. area, held its annual Night of Champions Awards Gala on Saturday, April 20 at the Hilton National Mall. The organization gave out scholarships to area LGBTQ student athletes as well as awards to the Different Drummers, Kelly Laczko of Duplex Diner, Stacy Smith of the Edmund Burke School, Bryan Frank of Triout, JC Adams of DCG Basketball and the DC Gay Flag Football League.
(Washington Blade photos by Michael Key)
The 2024 National Cannabis Festival was held at the Fields at RFK Stadium on April 19-20.
(Washington Blade photos by Michael Key)
Covering the @NatlCannaFest at RFK Stadium for @WashBlade . Stop by the LGBTQ+ booth and pick up a paper if you are here. pic.twitter.com/is7hnsaPns
— Michael Patrick Key (@MichaelKeyWB) April 20, 2024
Theater
‘Amm(i)gone’ explores family, queerness, and faith
A ‘fully autobiographical’ work from out artist Adil Mansoor
‘Amm(i)gone’
Thorough May 12
Woolly Mammoth Theatre
641 D St., N.W.
$60-$70
Woollymammoth.net
“Fully and utterly autobiographical.” That’s how Adil Mansoor describes “Amm(i)gone,” his one-man work currently playing at Woolly Mammoth Theatre.
Both created and performed by out artist Mansoor, it’s his story about inviting his Pakistani mother to translate Sophocles’s Greek tragedy “Antigone” into Urdu. Throughout the journey, there’s an exploration of family, queerness, and faith,as well as references to teachings from the Quran, and audio conversations with his Muslim mother.
Mansoor, 38, grew up in the suburbs of Chicago and is now based in Pittsburgh where he’s a busy theater maker. He’s also the founding member of Pittsburgh’s Hatch Arts Collective and the former artistic director of Dreams of Hope, an LGBTQ youth arts organization.
WASHINGTON BLADE: What spurred you to create “Amm(i)gone”?
ADIL MANSOOR: I was reading a translation of “Antigone” a few years back and found myself emotionally overwhelmed. A Theban princess buries her brother knowing it will cost her, her own life. It’s about a person for whom all aspirations are in the afterlife. And what does that do to the living when all of your hopes and dreams have to be reserved for the afterlife?
I found grant funding to pay my mom to do the translation. I wanted to engage in learning. I wanted to share theater but especially this ancient tragedy. My mother appreciated the characters were struggling between loving one another and their beliefs.
BLADE: Are you more director than actor?
MANSOOR: I’m primarily a director with an MFA in directing from Carnegie Mellon. I wrote, directed, and performed in this show, and had been working on it for four years. I’ve done different versions including Zoom. Woolly’s is a new production with the same team who’ve been involved since the beginning.
I love solo performance. I’ve produced and now teach solo performance and believe in its power. And I definitely lean toward “performance” and I haven’t “acted” since I was in college. I feel good on stage. I was a tour guide and do a lot of public speaking. I enjoy the attention.
BLADE: Describe your mom.
MANSOOR: My mom is a wonderfully devout Muslim, single mother, social worker who discovered my queerness on Google. And she prays for me.
She and I are similar, the way we look at things, the way we laugh. But different too. And those are among the questions I ask in this show. Our relationship is both beautiful and complicated.
BLADE: So, you weren’t exactly hiding your sexuality?
MANSOOR: In my mid-20s, I took time to talk with friends about our being queer with relation to our careers. My sexuality is essential to the work. As the artistic director at Dreams of Hope, part of the work was to model what it means to be public. If I’m in a room with queer and trans teenagers, part of what I’m doing is modeling queer adulthood. The way they see me in the world is part of what I’m putting out there. And I want that to be expansive and full.
So much of my work involves fundraising and being a face in schools. Being out is about making safe space for queer young folks.
BLADE: Have you encountered much Islamophobia?
MANSOOR: When 9/11 happened, I was a sophomore in high school, so yes. I faced a lot then and now. I’ve been egged on the street in the last four months. I see it in the classroom. It shows up in all sorts of ways.
BLADE: What prompted you to lead your creative life in Pittsburgh?
MANSOOR: I’ve been here for 14 years. I breathe with ease in Pittsburgh. The hills and the valleys and the rust of the city do something to me. It’s beautiful, it’ affordable, and there is support for local artists. There’s a lot of opportunity.
Still, the plan was to move to New York in September of 2020 but that was cancelled. Then the pandemic showed me that I could live in Pittsburgh and still have a nationally viable career.
BLADE: What are you trying to achieve with “Amm(i)gone”?
MANSOOR: What I’m sharing in the show is so very specific but I hear people from other backgrounds say I totally see my mom in that. My partner is Catholic and we share so much in relation to this.
I hope the work is embracing the fullness of queerness and how means so many things. And I hope the show makes audiences want to call their parents or squeeze their partners.
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‘Amm(i)gone’ explores family, queerness, and faith
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