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The Theory of Everything (2014)

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A look at the relationship between the famous physicist Stephen Hawking and his wife.


James Marsh


Anthony McCarten (screenplay), Jane Hawking (book)
1,150 ( 8)
Won 1 Oscar. Another 25 wins & 122 nominations. See more awards »



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Cast overview, first billed only:
Eddie Redmayne ... Stephen Hawking
Felicity Jones ... Jane Hawking
Tom Prior ... Robert Hawking - Age 17
Sophie Perry Sophie Perry ... Lucy Hawking - Age 14
Finlay Wright-Stephens Finlay Wright-Stephens ... Timothy Hawking - Age 8
Harry Lloyd ... Brian
Alice Orr-Ewing ... Diana King
David Thewlis ... Dennis Sciama
Thomas Morrison Thomas Morrison ... Carter
Michael Marcus ... Ellis
Gruffudd Glyn Gruffudd Glyn ... Rees
Paul Longley Paul Longley ... Barman - Rowing Club
Emily Watson ... Beryl Wilde
Guy Oliver-Watts Guy Oliver-Watts ... George Wilde
Simon McBurney ... Frank Hawking


The Theory of Everything is the story of the most brilliant and celebrated physicist of our time, Stephen Hawking, and Jane Wilde the arts student he fell in love with whilst studying at Cambridge in the 1960s. Little was expected from Stephen Hawking, a bright but shiftless student of cosmology, given just two years to live following the diagnosis of a fatal illness at 21 years of age. He became galvanized, however, by the love of fellow Cambridge student, Jane Wilde, and he went on to be called the successor to Einstein, as well as a husband and father to their three children. Over the course of their marriage as Stephen's body collapsed and his academic renown soared, fault lines were exposed that tested the lineaments of their relationship and dramatically altered the course of both of their lives. Written by Spencer Higham

Plot Summary | Plot Synopsis


Consider Everything. See more »

Motion Picture Rating (MPAA)

Rated PG-13 for some thematic elements and suggestive material | See all certifications »

Parents Guide:

View content advisory »



UK | Japan | USA


English | French

Release Date:

26 November 2014 (USA) See more »

Also Known As:

The Theory of Everything See more »


Box Office


$15,000,000 (estimated)

Opening Weekend USA:

$208,763, 9 November 2014

Gross USA:


Cumulative Worldwide Gross:

See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs


Sound Mix:

Dolby Digital



Aspect Ratio:

2.40 : 1
See full technical specs »

Did You Know?


Both Felicity Jones and Harry Lloyd played roles in Doctor Who (2005). Lloyd was in the third season and Jones was in the fourth, but both with David Tennant as The Doctor. See more »


In the tutorial scene, immediately after the mistaken use of a full STD code for a Cambridge telephone number (0223-) the tutor mentions quarks. These were not postulated until 1964. See more »


Jane Hawking: I have loved you.
See more »


Die Walkure Act 1: Vorspiel
Written by Richard Wagner (as Wagner)
Performed by The Stuttgart State Opera Orchestra
Conducted by Lothar Zagrosek
Licensed courtesy of Naxos Rights US Inc
See more »

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User Reviews

Theory of Nothing: highly overrated generic tripe
21 December 2014 | by bliz82See all my reviews

This is 2014's most overrated film of the year. While Eddie Redmayne is good as Stephen Hawking, it's really just a performance that deceives the viewer and critic. He looks like Hawking. His hair and clothes look like Hawking. He does the 'Hawking' smile and weird thinking stare face and frowns. Yes, he does a believable Hawking. Well done. But it's just a glorified impersonation. There's no actual great acting or stretch of a transformation or method or scenes that Redmayne is tested as an actor nor Hawking's character development. The dialogue and interactions, aside from using actual Hawking quotes from speeches and writings, are awful and boring and redundant and derivative. The whole performance is mild and plain, and the story is weak. The story has generally been done before. There are no significant scenes or moments that go above and beyond anything generic, nor anything for Redmayne to truly bite into to 'perform.' Even the accident and fall portion of the film is mild and never really becomes that emotional at all. Mostly, the film fails miserably in exploring Hawking's internal thoughts, imagination, rituals, and inspirations.

It plays like a T.V. movie. And quite frankly i'm tired of these Hollywood films doing biopics about an ENTIRE life, using montage and generic moments that aren't specific or significant enough. Biopics that are focused on a period on a life is more interesting than trying to do a whole life in two hours. There's no sense of Hawking and his children in his life. Births are fast-tracked, montage child play and smiles. The film gives you an impression of just Jane, his wife, being a vessel for children. There's no sense of Hawkings personal life, interests, time spent, or anything underpinning the vast ideas he develops. We see him on a beach or being pushed in a wheelchair by family as piano plays. The film is devoid of politics or popular culture and changing times of each decade other than clothes as lazy indicators, and the exception of pointing out Penthouse a few times as some recurring wink wink joke to convey Hawking as some sexual guy. This 'sexualized' Hawking happens throughout the film in various ways..."so Stephen, do some things still 'work.'" The movie mostly follows Jane and her torn affair with some choir priest. In fact, Jane is in more scenes and gets more to act on screen than Stephen Hawking (and Redmayne for that matter). The story is more focused on tripe romance and affair rather than Hawking. And even when departing, a montage is set in again. No emotional development is organic. And, perhaps, maybe as brilliant as Hawking is and as tragic as his condition is, maybe he's just a boring guy and not much can be that interesting in terms of a character on film in scenes other than a guy sitting in a wheelchair mumbling and smiling and frowning. The film would've done a better job with Hawking's imagination and space interpreted in shots, as well as the times he was living in and absorbing and watching as opposed to generic renderings of his domestic life (which was still mild and safe compared to the actual reality) and Jane's struggle and perspective. Everything is furthered by cued dramatic music and montage and shots of faces occasionally. By trying to cram in broad strokes in writing the film into a corner with Jane's story, the theory of everything becomes theory of nothing.

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