Leave it to screenwriter Emma Thompson to deliver yet another period piece showcasing a strong female lead with an equally powerful female driven voice throughout the film. Then put this solid script in the hands of director Richard Laxton, steep the film in beautiful and immersive production design and high production values, and we are transported into 19th century London and the world of EFFIE GRAY.
A well known true story of sexual repression, not to mention societal scandal, Euphemia “Effie” Gray was a young Scottish lass who, in 1848, married the leading art critic of the day, John Ruskin. Ruskin, 29-years old to the 19-year old virginal Effie, was anything but a loving husband and there has been much debate and discussion over the centuries as to why he never seemed to “rise to the occasion” as a suitable husband for Effie. Moving his bride into the Ruskin family home proved problematic from the start for both Effie and what would become a doomed marriage thanks in large part to a perceived “mama’s boy” relationship between Margaret Ruskin and son John.
While Thompson’s script never addresses much of the documented public scrutiny and innuendo over the couple, she delves deeply enough into John and the Ruskin family to provide a strong foundation for the emotional arc of Effie, so much so, that one is touched, moved and cheering for Effie when she falls in love with rising new-artist John Everett Millais while on a doctor prescribed therapeutic stay in Scotland (to get Effie away from her mother-in-law). While the trip is supposed to be for the benefit of Effie and hopefully as a means to save her marriage, it is anything but, as Ruskin brings Millais along and, given he has no interest in his own wife, requests Millais spend time with Effie. Those flirtatious moments lead to a deep love which serves as the impetus for Effie to have her marriage annulled on grounds of Ruskin’s impotency. (Omitted from the film is Effie’s post-annulment story as she went on to marry Millais and have a very long, very happy and very loving marriage.)
Although somewhat toned down from actual historical documentation of the Effie’s life and the “scandalous” nature of her existence, not to mention the complete and utter dysfunction of the Ruskin family, and steers clear of being a psycho-sexual playground, thanks to Thompson’s script, Laxton’s direction and a stellar performance by Dakota Fanning as EFFIE GRAY, the film soars with pro-feminism thematics. Questionable, however, is Thompson’s decision to construct the story through the prudish lens of the 19th century as opposed to that of 21st century sensibility and the forward thinking nature of Effie Gray herself.
Production designer James Merifield, who wowed us with period perfect work in “Austenland”, does so to an even greater degree here. Production design is rich and, in the case of the Ruskin manse, bodes an old world heaviness of the burdens of money and cloaked secrets. Complementing Merifield’s work is that of cinematographer Andrew Dunn. Dunn, a veteran of period beauty in films like “Miss Potter”, “Mrs. Henderson Presents” and “Gosford Park”, beautifully sets the visual tonal bandwidth with not only framing, but lighting, most notably with the Ruskin home wherein he creates a sensory experience as if being wrapped in a heavy cotton velvet. Stunning contrast are the exteriors of the Scottish lochs and the third act of the film which takes place in a rustic yet intimate “Quiet Man-esque” cottage. Making extensive use of candlelight and shadow in the cottage scenes, compounded with exquisite rain-soaked jaunts among Mother Nature, Dunn’s visuals speak volumes while becoming quietly hypnotic.
Lensing in the Scottish lochs with the cold and rain is a perfect emotional metaphor for Effie’s cold and empty life with John. Perfectly contrasting that, however, is the sun and vibrant golden hues and green meadows as Effie and Millais grow closer and Ruskin is in Edinburgh. The cinematographic storytelling is stunning. Similarly, Merifield’s design of the cottage with intimate side-by-side corners for Effie and Millais with arrogant cold fish Ruskin across the room tells a chapter all its own.
Performances are extremely strong starting with Dakota Fanning. Fanning nails Effie to a tee. Wearing her heart on her sleeve and her emotions in her eyes , Fanning executes a tacitly methodical eggshell walk that is compelling.
Doing double duty as both screenwriter and actress, Emma Thompson clearly wrote the role of Lady Eastlake for herself as the patter and performance is perfectly Emma. Her Ladyship serves as the one supporting female with a mature feminist take who provides counsel and guidance to the young Effie. As Eastlake, Thompson brings a lightness of heart in attitude and costume. On the flip side of Lady Eastlake is Margaret Ruskin who is horridly delicious thanks to Julie Walters’ performance. Take the heart and fun out of Walters’ most famous role as Molly Weasley in the “Harry Potter” franchise and toss in a mean-streaked overbearing possessiveness and you get Margaret Ruskin.
Enhancing Walters’ performance even further is that of Greg Wise as the wimpy simpy mama’s boy, stick-up-the-butt John Ruskin. While Wise (who in real life is married to Emma Thompson) is effectively hateful as Ruskin, unsettling is that he is some 20 years older than Ruskin was at the time of his marriage to Effie. While a lack of chemistry between the character of Effie and Ruskin is necessary, the effect of casting an actor so much older than need be in the role is disconcerting, especially when viewed in light of the mores of the 19th century. These are real people and events which are being portrayed and Wise’s casting discredits the truth.
Where Wise falls short by his age inappropriate miscasting, Tom Sturridge sizzles and charms as Everett Millais. With a boyish shy uncertainty that grows into a deep love, Sturridge reveals emotion through his eyes and tentative nuanced movements, bringing an emotional delicacy to the relationship between Millais and Effie.
Legendary cameos come in the form of Derek Jacobi as attorney Travers Twiss and Claudia Cardinale dazzles as an Italian Viscountess who befriends Effie and serves as a chaperone to her during some freeing and wild days in Italy.
Sadly, thanks to legal wranglings over “originality” of the screenplay, EFFIE GRAY has been shelved for the past few years. A beautifully crafted film filled with a haunting stillness and melancholy touched with moments of humor and a final frame that is the epitome of hopeful joy and longing, EFFIE GRAY speaks to the heart and pays soft homage to the woman whose life we see unfold.
Directed by Richard Laxton
Written by Emma Thompson
Cast: Dakota Fanning, Emma Thompson, Tom Sturridge, Julie Walters, Greg Wise
