"Effie Gray" is an adaptation of the true story that shocked Victorian England: the love triangle of art critic John Ruskin; his seriously unhappy wife, Euphemia "Effie" Gray; and his protégé, the Pre-Raphaelite painter John Everett Millais. Starring Dakota Fanning as the young Scottish bride, co-starring Emma Thompson and directed by Richard Laxton. The film is set in 19th century England and revolves around young Effie Gray, who marries John Ruskin, a renowned art critic. Soon after the wedding, Effie discovers that her husband has no sexual interest in her and keeps her in a situation of isolation and emotional neglect. This leads her to a state of deep unhappiness and despair. Effie meets her husband's friends, including the Pre-Raphaelite artist John Everett Millais, played by Tom Sturridge, and Millais' friend Lady Elizabeth Eastlake, played by Emma Thompson. These characters play important roles in Effie's life, both as sources of support and as elements that make her question her unhappy marriage. As the story unfolds, Effie finds an unlikely ally in Millais, who understands and supports her emotionally. The tension between Effie, Ruskin and Millais increases as the relationship between Effie and Millais deepens. The film culminates in a trial that seeks to annul Effie's marriage to Ruskin, as she seeks the freedom to follow her heart.
Ruskin, the most influential art critic of the time, met Effie when she was a 12-year-old girl. He was 21 years old. It is believed that she helped him recover from depression, and he wrote her a fairy tale, the book "The King of the Golden River". Then, when she married Ruskin in 1848, Effie was twenty years old and longed to leave rural Scotland for a life of cultural sophistication in London. The newlyweds go to live with Ruskin's parents, when things start to go from bad to worse: Mom and Dad spoil John, and make it clear that Effie must sacrifice herself so that he can remain at the altar that was built for him. Then, as the popular story goes, on their wedding night Ruskin was so disgusted by Effie's pubic hair (or the smell of it or the fact that she menstruated) that he never touched her. Their union was never consummated. Effie then finds herself in limbo; with no place in her husband's life; of no use in the in-laws' house.
Thompson's script shows how limited her options are: the monstrous Mrs. Ruskin won't let her sew her husband's shirts or help in the garden. She does not have the solace of her husband's intellectual pursuits and, thanks to Ruskin, she also has no children to care for. Effie is not a tragic heroine like Anna Karenina, but just an unhappy Victorian wife. At a dinner party, Effie meets the friendly Lady Eastlake, who talks about the miserable first days of her marriage to Sir Charles - but the difference is that they have managed to repair their marriage. In a subtle and affected performance, Greg Wise manages to make it possible to feel the slightest bit of sympathy for Ruskin - he gives us the feeling that the character is as much a victim as Effie. Fanning captures Effie's vitality and also her depression, during the transformation she undergoes with Ruskin as her husband. Halfway through the film, there is a picturesque interlude of the couple in Venice. Ruskin admires the local art, but laments the city's hedonism and decadence - alluding to Effie. For the first time, the young wife has some fun in her life, and Ruskin, predictably, doesn't even notice that his wife's antics provoke malicious gossip. And not even, back in London, does he realize how sick and haggard Effie is. Fortunately for Effie, however, a solution was found in the most basic of medieval European laws: annulment of marriage by non-consummation.
Emma Thompson's script makes Effie a heroine who lives in a house where she is treated with cruelty. Dakota Fanning plays her with a cold manner and acceptance of her fate - until a certain moment. Effie and John's marriage was the subject of several books. However, the reason for John's refusal is never clear. Was he gay? Asexual? Or a non-active pedophile who found himself attracted to Effie's childlike face but not her womanly body? In the end, Emma Thompson suggests that he was powerless. The film even has a trip for both of them to Venice. There, John and Effie's paths cross with those of Claudia Cardinale and Ricardo Scamarcio's characters. The latter is obviously fascinated by Effie, but she runs away through the streets and alleys. Was it just out of fear, or was Effie already following a separation plan in her head? The film doesn't make this clear. The problem is that the film ends when things seem like they're going to get more interesting. That is, with Effie running away to file for divorce. And also, the happy ending for Effie, who got a divorce and married Everett, Ruskin's protégé. And they had eight children. It was worth having this happy ending for the viewer who follows his journey of suffering. The change that occurs in Effie in the scenes after the cabin, and when she decides that she will leave her husband with the help of Lady Eastlake, are surprising. However, it would also have been great if the film had perhaps been less about her period of marriage to Ruskin and more about the public humiliation following her accusation of impotence, as well as her reaction to these scandals.
The narrative of "Effie Gray" is expertly set in Victorian England, with a stunning visual recreation of that era. The details of the art direction, costumes and sets transport the viewer back in time, providing remarkable authenticity. The film's photography is also worth highlighting, as it masterfully captures the melancholy beauty of the English landscape, complementing the story and creating a captivating and evocative atmosphere. The cast's performances are solid, especially Dakota Fanning (with her mesmerizing blue eyes), who plays Effie with sensitivity and empathy. Fanning manages to convey the character's pain and frustration in an incredibly convincing way. Her performance is one of the film's highlights and allows the audience to deeply connect with Effie's internal conflict.
Greg Wise gives a solid performance as John Ruskin, portraying a complex and troubled man. His portrayal of the art critic manages to convey both his intellectual influence and his emotional coldness toward Effie. The dynamic between Fanning and Wise is essential to the plot and the actors manage to effectively capture the tension and lack of communication between their characters. Emma Thompson, who also wrote the screenplay, gives a solid performance as Lady Elizabeth Eastlake. Her role adds depth to the narrative, exploring the social norms of the time and providing an interesting contrast to Effie and Ruskin's marriage. Thompson contributes to the film with his charismatic presence and interpretive talent. And Tom Sturridge plays John Everett Millais with charisma and empathy, making his character fundamental to the story. His relationship with Effie becomes a central part of the narrative and is played convincingly. Sturridge brings an added layer of complexity to the story, making his character more than just a romantic interest.
"Effie Gray" presents several important scenes and passages for the development of the plot and the exploration of the characters: We arrive in Scotland: When Effie and Ruskin arrive at the country house in Scotland, the contrast between the natural beauty of the setting and the coldness emotional aspect of the marriage becomes evident. The stunning Scottish landscape becomes an important backdrop throughout the film; Effie begins to explore the surrounding countryside, finding refuge in its beauty and solitude. These scenes capture his search for freedom and tranquility in the midst of oppression; the interactions between Effie and Lady Elizabeth Eastlake, which are central to the plot, offering an insightful look at the social norms of the time; the scenes in which Effie and Everett become closer and in which he suffers because he cannot bear to see her being mistreated by John; plus, of course, the epilogue that offers a glimpse into Effie's future and the choices she made in search of a more authentic and meaningful life.
Laxton's inspirations are obvious in paradigmatic works of cinema that cover the theme in a disturbingly functional way, such as "Rebecca" (1940)", directed by Hitchcock, and "A Woman Under the Influence (1974)", brought to the screen by John Cassavetes (1929-1989), and the film in turn mirrors later works, such as "The Danish Girl (2015)", by Tom Hooper, which complements "Effie Gray". While in the story of Einar and Gerda Wegener, sex was never a problem, although Eddie Redmayne's character was indeed homosexual - and he discovered, in fact, a transsexual woman -, Ruskin's supposed homosexuality never leaves the cocoon, preserving his manhood. Perhaps the character's problem was even deeper, and he was wallowing in the black mud of crime, with repressed inclinations of probable pedophilia. Speculations aside, the fact is that the three remained stigmatized and outraged throughout their lives, and the history of these unions remains marked by the red-hot iron of hypocrisy.
Although it can be considered slow at times and delves into some unnecessary subplots, it offers an engaging look at a courageous woman who defies the conventions of her time in search of her own happiness and freedom. It's a worthwhile choice for those interested in period dramas and historical narratives centered around strong female characters. The film also stands out for its stunning visual recreation of the Victorian era and the remarkable performances of its main cast, making it a cinematic work that deserves to be appreciated.
Ruskin, the most influential art critic of the time, met Effie when she was a 12-year-old girl. He was 21 years old. It is believed that she helped him recover from depression, and he wrote her a fairy tale, the book "The King of the Golden River". Then, when she married Ruskin in 1848, Effie was twenty years old and longed to leave rural Scotland for a life of cultural sophistication in London. The newlyweds go to live with Ruskin's parents, when things start to go from bad to worse: Mom and Dad spoil John, and make it clear that Effie must sacrifice herself so that he can remain at the altar that was built for him. Then, as the popular story goes, on their wedding night Ruskin was so disgusted by Effie's pubic hair (or the smell of it or the fact that she menstruated) that he never touched her. Their union was never consummated. Effie then finds herself in limbo; with no place in her husband's life; of no use in the in-laws' house.
Thompson's script shows how limited her options are: the monstrous Mrs. Ruskin won't let her sew her husband's shirts or help in the garden. She does not have the solace of her husband's intellectual pursuits and, thanks to Ruskin, she also has no children to care for. Effie is not a tragic heroine like Anna Karenina, but just an unhappy Victorian wife. At a dinner party, Effie meets the friendly Lady Eastlake, who talks about the miserable first days of her marriage to Sir Charles - but the difference is that they have managed to repair their marriage. In a subtle and affected performance, Greg Wise manages to make it possible to feel the slightest bit of sympathy for Ruskin - he gives us the feeling that the character is as much a victim as Effie. Fanning captures Effie's vitality and also her depression, during the transformation she undergoes with Ruskin as her husband. Halfway through the film, there is a picturesque interlude of the couple in Venice. Ruskin admires the local art, but laments the city's hedonism and decadence - alluding to Effie. For the first time, the young wife has some fun in her life, and Ruskin, predictably, doesn't even notice that his wife's antics provoke malicious gossip. And not even, back in London, does he realize how sick and haggard Effie is. Fortunately for Effie, however, a solution was found in the most basic of medieval European laws: annulment of marriage by non-consummation.
Emma Thompson's script makes Effie a heroine who lives in a house where she is treated with cruelty. Dakota Fanning plays her with a cold manner and acceptance of her fate - until a certain moment. Effie and John's marriage was the subject of several books. However, the reason for John's refusal is never clear. Was he gay? Asexual? Or a non-active pedophile who found himself attracted to Effie's childlike face but not her womanly body? In the end, Emma Thompson suggests that he was powerless. The film even has a trip for both of them to Venice. There, John and Effie's paths cross with those of Claudia Cardinale and Ricardo Scamarcio's characters. The latter is obviously fascinated by Effie, but she runs away through the streets and alleys. Was it just out of fear, or was Effie already following a separation plan in her head? The film doesn't make this clear. The problem is that the film ends when things seem like they're going to get more interesting. That is, with Effie running away to file for divorce. And also, the happy ending for Effie, who got a divorce and married Everett, Ruskin's protégé. And they had eight children. It was worth having this happy ending for the viewer who follows his journey of suffering. The change that occurs in Effie in the scenes after the cabin, and when she decides that she will leave her husband with the help of Lady Eastlake, are surprising. However, it would also have been great if the film had perhaps been less about her period of marriage to Ruskin and more about the public humiliation following her accusation of impotence, as well as her reaction to these scandals.
The narrative of "Effie Gray" is expertly set in Victorian England, with a stunning visual recreation of that era. The details of the art direction, costumes and sets transport the viewer back in time, providing remarkable authenticity. The film's photography is also worth highlighting, as it masterfully captures the melancholy beauty of the English landscape, complementing the story and creating a captivating and evocative atmosphere. The cast's performances are solid, especially Dakota Fanning (with her mesmerizing blue eyes), who plays Effie with sensitivity and empathy. Fanning manages to convey the character's pain and frustration in an incredibly convincing way. Her performance is one of the film's highlights and allows the audience to deeply connect with Effie's internal conflict.
Greg Wise gives a solid performance as John Ruskin, portraying a complex and troubled man. His portrayal of the art critic manages to convey both his intellectual influence and his emotional coldness toward Effie. The dynamic between Fanning and Wise is essential to the plot and the actors manage to effectively capture the tension and lack of communication between their characters. Emma Thompson, who also wrote the screenplay, gives a solid performance as Lady Elizabeth Eastlake. Her role adds depth to the narrative, exploring the social norms of the time and providing an interesting contrast to Effie and Ruskin's marriage. Thompson contributes to the film with his charismatic presence and interpretive talent. And Tom Sturridge plays John Everett Millais with charisma and empathy, making his character fundamental to the story. His relationship with Effie becomes a central part of the narrative and is played convincingly. Sturridge brings an added layer of complexity to the story, making his character more than just a romantic interest.
"Effie Gray" presents several important scenes and passages for the development of the plot and the exploration of the characters: We arrive in Scotland: When Effie and Ruskin arrive at the country house in Scotland, the contrast between the natural beauty of the setting and the coldness emotional aspect of the marriage becomes evident. The stunning Scottish landscape becomes an important backdrop throughout the film; Effie begins to explore the surrounding countryside, finding refuge in its beauty and solitude. These scenes capture his search for freedom and tranquility in the midst of oppression; the interactions between Effie and Lady Elizabeth Eastlake, which are central to the plot, offering an insightful look at the social norms of the time; the scenes in which Effie and Everett become closer and in which he suffers because he cannot bear to see her being mistreated by John; plus, of course, the epilogue that offers a glimpse into Effie's future and the choices she made in search of a more authentic and meaningful life.
Laxton's inspirations are obvious in paradigmatic works of cinema that cover the theme in a disturbingly functional way, such as "Rebecca" (1940)", directed by Hitchcock, and "A Woman Under the Influence (1974)", brought to the screen by John Cassavetes (1929-1989), and the film in turn mirrors later works, such as "The Danish Girl (2015)", by Tom Hooper, which complements "Effie Gray". While in the story of Einar and Gerda Wegener, sex was never a problem, although Eddie Redmayne's character was indeed homosexual - and he discovered, in fact, a transsexual woman -, Ruskin's supposed homosexuality never leaves the cocoon, preserving his manhood. Perhaps the character's problem was even deeper, and he was wallowing in the black mud of crime, with repressed inclinations of probable pedophilia. Speculations aside, the fact is that the three remained stigmatized and outraged throughout their lives, and the history of these unions remains marked by the red-hot iron of hypocrisy.
Although it can be considered slow at times and delves into some unnecessary subplots, it offers an engaging look at a courageous woman who defies the conventions of her time in search of her own happiness and freedom. It's a worthwhile choice for those interested in period dramas and historical narratives centered around strong female characters. The film also stands out for its stunning visual recreation of the Victorian era and the remarkable performances of its main cast, making it a cinematic work that deserves to be appreciated.