Fiennes tries a lot, but there is a superior power and to-be-fair stronger character in Jones’s side.
Fiennes has a magic show for us. And the magic is that there is no trick. But the trick itself is the entity showcased in here. The director, Ralph Fiennes is not a persuasive filmmaker. In the sense, he doesn’t stand in front of us, up close, with an expressive face. He doesn’t want you to get the joke, if he is doing a stand up. He is confident in his method. And ergo, the antics aren’t there at all. There is nothing to look forward to or look back to. The film is present. Live. There, on the stage. The subjective procedure is mellow, deliberately. Also, another odd thing I picked up is how there are no elements trailed to follow or climb the ladder step by step.
Personally, I loved this aspect of the film. For instance, usually after an epilogue the film has setup the characters, mood and the trajectory that it pretty much will follow for the next two acts. But in here, if a guy and a girl is to fall in love, there are no acts enfolding regarding that subject. Now it is incredibly risky to fiddle with a sensitive part of the film, since this is the crux and blood of the entire phenomenon.
If the audience doesn’t understand the weight of this lead equation, the film would never work. And Fiennes draws from this emotion from real life. This feeling doesn’t creep up step by step in the narration but is present as soon as Nelly played by Felicity Jones meets Feinnes as Charles Dickens. Those two in the room says it all, they don’t have to go through certain circumstances created artificially or naturally to understand that they have fallen for each other. The resistance in the body language and the breathe gives away The Invisible Woman.