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- cast - Eddie Redmayne
- Adventure, Romance
- directors - Tom Harper
- rating - 7,5 / 10
- duration - 1 h, 40minutes
The aéronautiques.
Posted on Tuesday, December 3rd, 2019 by
The Aeronauts is designed to dazzle, both visually and in terms of its time-hopping storytelling structure, yet its impact is as wispy as the air that its hot-air balloons soar through. In what feels like the umpteenth true-story drama of the 2019 awards season, The Aeronauts is a moderately handsome production without actually being dramatically involving. As often as the film takes to the air, its earthbound scenes are dry and dull, giving off the vague whiff of dramatic leftovers.
Felicity Jones plays Amelia Wren, a showman-like performer in 1860s London who leads a manned flight to the sky in the hopes of beating the height record in a hot-air balloon. She’s joined by fledgling meteorologist James Glaisher (Eddie Redmayne), whose ambitions are in essentially proving to the top-hatted gentlemen of the Royal Society of London that meteorology is a real, legitimate science. To do that, he’ll have to get scientific proof of how weather works at higher altitudes, hence his own quest to top the height record. For Amelia, the desire is to put the tragic death of her husband, a fellow ballooning adventurer, into the past and prove that she can go on expeditions of her own without his presence.
The Aeronauts, when Amelia and James are in the air, is at least a mildly compelling adventure with the requisite amount of tension and surprise. But the structure of the script, courtesy of writer Jack Thorne and director Tom Harper, is such that the story jumps back and forth in time before the opening credits have begun to roll. After incredibly brief glimpses of the two heroes on the fateful balloon, we jump back to the launch of the flight, interspersed then and later with flashbacks to each of their lives. If The Aeronauts was to run in full chronological order, it’s likely that the last half-hour of the 100-minute film would be dedicated to the fateful flight. Instead, the trip is seen in bits and pieces, fits and starts that continually allow The Aeronauts to never feel entirely disappointing, even as it never achieves the kind of dramatic heights it hopes to.
By starting the film at such a late point, we first meet Amelia largely as a figure of fancy, a full-on flibbertigibbet who seems more impressed with putting on a show for an adoring crowd (including tossing her own dog overboard on the balloon only to reveal that it’s fitted with a parachute) than on scientific choices. And conversely, James is portrayed as such a stuffy, stick-up-his-ass type that as much as the two characters represent polar opposites, they also aren’t that exciting to spend time with. The two actors — reuniting after their awards-bait work in The Theory of Everything — are both perfectly fine, especially when they’re allowed to act more human than as archetypes.
Redmayne is arguably delivering one of his better performances here, if only because James Glaisher feels like a real person (not merely because he literally was a real person) due to the Oscar winner’s gradually low-key performance. Jones has more to do in the film (especially in the final stretch), but there’s a struggle in her work to balance the forcefully flighty side of Amelia with the more tender and heartfelt side. (Unlike with Redmayne and James, this may be due to the fact that Amelia Wren was not a real person, but an amalgam of other women of the era. ) When she finally expresses real interest in James’ scientific methods, it’s meant to be a sign of her changing character; however, if you track how much time has passed in the flight itself, Amelia’s change has been radical indeed.
The reality of the situation itself could be criticized, to be sure. Historians have dinged The Aeronauts because the flight depicted in the film wasn’t taken by Glaisher and Wren, or in fact by Glaisher and a woman — his co-pilot was a man who’s not accounted for in the final project. (Himesh Patel of Yesterday plays a close friend of James’, but his character is defined by never joining Glaisher in the balloon. ) Yet the reality of the situation, or lack thereof, is immaterial. The Aeronauts is, no matter how thrilling the action scenes are meant to be, just a bit too silly to take seriously.
There’s a bit from an Eddie Izzard routine in which he talks about the kinds of films that England is known for: films in which one character enters a drawing room, encounters a second character who’s doing something like arranging matches, before the two stammer at each other and leave. This, in comparison to American films where there’s action and gunplay and car chases and vicious accusations of infidelity. When The Aeronauts takes to the air, it has a bit of excitement and thrilling visual splendor. But when it’s on the ground, this movie is much like that Izzard routine — a lot of stammering in place of dramatic heft, and not a whole lot else.
/Film Rating: 4 out of 10
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The movie is quite enjoyable as a fairy tale. It's supposed to be based on a true story, but to be politically correct Amazon has rewritten history and turned one of the two main characters to a women. It was two men, not a man and women. There is no need to rewrite history. I'd be annoyed if they make a movie about Amelia Earhart and turned her into a man. It's history. Just do the history.
I'd rated this a 9 if they hadn't lied by saying this is based on true events.
The acting is pretty good and the story line is good and it's fairly clean.
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Acrophobia. I have this. If you also suffer from this condition, it will turn this into a horror movie. It will be worse than The Exorcist or Jaws. I mean, why do they have to climb all over the basket and lean over the sides and not tie themselves in? If it were me, we would all have on harnesses and be tied securely in.
This movie is exciting, and a little bit historical. I love adventure movies, and historical adventures, and Victoriana, so this was right up my alley. I don't know how true the events are, I don't know if the woman really did the things she did in this movie, but it was thrilling to watch, nonetheless.
But for the love of God and all things holy, PLEASE, stop leaning over the side of the basket, and harness yourselves in.
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Eddie Redmayne og Felicity Jones i 'The Aeronauts'.
Spillefilm
Instruktion
Tom Harper
Medvirkende
Felicity Jones, Eddie Redmayne, Himesh Patel, Tom Courtenay
Spilletid
101 min.
Premiere
Kan ses på Amazon Prime
I ’ Teorien om alting’ forevigede Eddie Redmayne og Felicity Jones den ALS-ramte fysiker Stephen Hawking og hans kone Jane på film. Nu har skuespillerparret igen begået et historisk drama om en skelsættende videnskabsmand i Tom Harpers semibiografiske eventyrfilm, ’The Aeronauts’, der ikke fik dansk biografpremiere, men nu kan ses direkte på Amazon Prime.
Vi befinder os i det victorianske London i 1862, hvor meteorologen James Glaisher (Redmayne) bliver mødt med latterliggørelse fra sine akademiske kolleger, da han foreslår, at man ved at studere himlen kan forudsige vejret. I mangel på støtte allierer han sig derfor med ballonpiloten og vovehalsen Amelia, som tøver med endnu engang at kravle op i den gyngende kurv. Under overfladen plages den udadtil livlige Amilia nemlig af traumet over sin mand, som styrtede i døden under deres sidste ballontur.
’The Aeronauts’ bygger på Richard Holmes bog ’Falling Upwards: How We Took The Air’ om den virkelige ballonfart, hvor James Glaisher og Henry Coxwell – udover at slå den daværende højderekord med 6. 000 fod – banede vejen for måden, vi forudser vejrudsigterne på.
I de kunstneriske friheders navn er Coxwell blevet udskiftet med Amelia, en fiktiv karakter baseret på en række virkelige kvindelige ballonpiloter fra 1800-tallet. Det virker som en beslutning udelukkende truffet for at gøre filmen mere moderne, men dette misforståede forsøg på at være progressiv underminerer egentlig blot Coxwells betydelige bidrag til videnskaben og de virkelige historiske kvinder, som Amelia-karakteren bygger på, og som ikke er nævnt nogle steder.
(Foto: Amazon Studios)
Jones og Redmayne er dog stadig en fornøjelse at være i selskab med, og deres kemi og talent er ikke til at tage fejl af. Især Jones får i filmens første scener virkelig lov at skeje ud, mens hun i sidste halvdel træder i karakter som handlekraftig heltinde, mens den sympatiske Redmayne endnu engang beviser sit værd som kongen af kejtethed som den forsigtige, men nysgerrige forsker.
Vi tilbringer langt størstedelen af spilletiden i ballonkurven med de to, og den evige konflikt mellem teoretikeren og praktikeren er drivkraften i dette kammerspil til vejrs, som danner grobund for sprudlende pingpong mellem skuespillerne. Desværre løfter deres modsatrettede livsanskuelser sig aldrig rigtigt, og samtalernes dybde hæver sig aldrig op over det banale.
Filmens styrke skinner til gengæld igennem i parrets kamp om overlevelse mod elementernes barske uforudsigelighed. For på trods af habile og fysisk krævende skuespilpræstationer er det luftballonen selv, som bogstaveligt talt løfter filmen. Fartøjet er overbevisende skabt i en kombination af praktiske effekter og computergenererede billeder, som smelter uforstyrret sammen og giver en følelse af at være med om bord flere kilometer over jordens overflade. Flere gange nyder man blot udsigten udover 1800-tallets London og dvæler ved den majestætiske stilhed, der indfinder sig, når først de kommer op over skyerne.
Når dramaet spidser til, imponerer Tom Harpers stunt- og effektmagere også med virkningsfulde actionsekvenser, der giver indtil flere sug i maven, selvom man ser filmen hjemme i sofaen. Især scenen, hvor en forfrossen og iltfattig Amelia er nødt til at kravle op på toppen af ballonen, sender tankerne hen til nogle af de bedste øjeblikke fra Alfonso Cuaróns moderne rummesterværk ’Gravity’.
Den havde gjort sig godt i biografen.
Kort sagt: Hvad ’The Aeronauts’ mangler på manuskriptfronten og i historisk tyngde, vinder den i stedet på et smittende samspil mellem Felicity Jones og Eddie Redmayne og en række nervepirrende actionscener til vejrs.
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This is a must see in the theater. It's stunning. Both visually and from a performance perspective. Everything is A+ and the bonus is that it's good for the whole family. Felicity is doing things you've never seen her do before and Eddie is fantastic. Wonderful supporting cast but the achievement is how tense and giant in scope the movie is while seemingly confined in a small space.
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