Fact-based 'Theory' propelled by Redmayne's Stephen Hawking

Eddie Redmayne's moving portrait of the great British physicist Stephen Hawking in "The Theory of Everything" ranks as one of those rarest of film performances, a galvanizing fusion of technique and instinct that erases the line between actor and character.

As Hawking, Redmayne radiates remarkable intelligence and compassion, always tinged with a self-deprecating sense of humor. Even during the worst times of the scientist's life, Redmayne emanates carefully measured amounts of joy - the joy of learning, the joy of loving, the sheer joy of existing.

James Marsh's "The Theory of Everything" is not a filmed version of Hawking's international best-seller "A Brief History of Time," a nonfiction book that discusses wormholes, black holes and the theory of relativity pitched at civilian readers.

This movie concentrates on Hawking's personal life, and should draw favorable comparisons to "My Left Foot," "The Diving Bell and the Butterfly" and other tastefully triumphant, fact-based dramas about protagonists who do not allow disabilities to destroy their achievements and lives.

"Theory" begins at Cambridge University in 1963 when young Hawking begins his intellectual odyssey to find a single mathematical equation that will explain everything in the universe.

He's only 21 when he comes down with a motor neuron disease that slowly saps him of movement.

Doctors give him two years to live. (As if to prove Einstein's theory of relativity, those two years so far equate to 51 years in Hawking's universe. He's now 72.)

"Theory of Everything" forgoes most of the scientist's work in favor of his relationship with his idealized, if not downright noble first wife, Jane Wilde (Felicity Jones, a paragon of British restraint). She marries the Cambridge student knowing he might die.

Their 25-year marriage (it ended in 1995), their three children (the disease obviously didn't impede all motors) and Jane's complicated relationship with a church choir leader named Jonathan Hellyer Jones (Charlie Cox) drive the narrative in Marsh's impeccably respectful drama, rendered with smart, succinct dialogue by Anthony McCarten, based on Jane's book "Traveling to Infinity: My Life With Stephen."

Despite its fact-based roots, "Theory of Everything" feels vaguely familiar and filtered, like other formula dramas that have had their real-life scuff marks varnished over to keep events polite and likable. (Both Hawking and his ex-wife no doubt had approval of Marsh's treatment here.)

To its credit, "Theory" chronicles how caring for Hawking took a huge toll on Jane, whose sacrifices and hardships begin to outweigh the romantic illusions once held by her younger self.

She tries to make her marriage work. When her dedication finally gives out (making way for Hawking to marry his new bossy nurse, Elaine Mason, sublimely played by Maxine Peake), it's a palpable moment of relief for us as well.

Movies about handicapped heroes rise or fall on the quality of the leading performance, and Redmayne's soars on rocket boosters.

The young star of "Les Miserables" and "My Week With Marilyn" begins as an energetic nerd, then slowly, without succumbing to exaggeration or affectation, slouches his body, drops his jaw, contorts his facial muscles and transforms Hawking into the wheelchair-bound icon we know today.

Redmayne didn't accomplish this on his own. Makeup and prosthetics artists gave him the dropped jaw effect, enlarged his ears so his face appeared to shrink, and created three hair pieces to suggest aging. Then, costume designer Steven Noble increased the size of Redmayne's clothes as the story progresses, an effect complemented by making his wheelchairs larger as Hawking grows older.

It will be tough for audiences, especially Chicagoans, to see "Theory of Everything" and not be reminded of the late film critic Roger Ebert who, like Hawking, used computers to give his thoughts a voice.

"My name is Stephen Hawking" a mechanized voice says from the scientist's computer.

Jane is horrified by the accent. "It's American!" she says.

"Is that a problem?" the software agent asks.

Redmayne's Hawking smiles wryly. After investigating the paradoxes of time and the ever-expanding universe, this is hardly a problem.

“The Theory of Everything”

★ ★ ★

Starring: Eddie Redmayne, Felicity Jones, Emily Watson, David Thewlis, Charlie Cox, Maxine Peake

Directed by: James Marsh

Other: At the Century Centre Theater in Chicago. A Focus Features release. Rated PG-13 for suggestive elements. 123 minutes