The Elephant Man

As I sit down to write this review, my experiences with it from my youth came flooding back. I first saw it as a 17 year old high-schooler at my local movie theater, late one evening. I had seen, and enjoyed, the Broadway play a few months earlier, and wanted to see how the movie compared. The play, I should say, was very moving and had a certain spareness in its production design that was very effective. I had left the theatre with a moist eye and an interest in learning more about John Merrick, The Elephant Man (who had neurofibromatosis, NOT elephantitis, as is so often attributed to him). Anyway, when the movie concluded, the ENTIRE audience of 150 or so sat in its seats, numbed and unmoving. It was one of those experiences where you fight back your tears, because you're worried if you let go, you'll start bawling like a baby! The film was so profoundly moving to me and so artistically brilliant, that I went again the very next day, dragging reluctant friends with me. They were all stunned. I watched it AGAIN later that week. I've watched it on video a couple of times years ago, but until I rewatched it recently on DVD, it had been nearly 10 years since I'd seen it. The story is set in the early turn-of-the-twentieth-century London. John Merrick (John Hurt) is, for lack of a better word, enslaved as a sideshow freak. He has the most hideous growths on his bones, which give him a frightening appearance. His head is probably three times bigger than a normal human, and the shape resembles a lumpy dirigible. His limbs are mostly tangled messes. Noted physician Dr. Treves (Anthony Hopkins) hears of this "elephant man" and is fascinated so greatly by his condition that he brings him to his hospital for study. Everyone has always assumed this man must be a mute "idiot." Turns out that Merrick is a gentle, thoughtful and almost unbearably forgiving soul. The relationship that emerges between Treves and Merrick, as well as with Merrick and virtually everyone he encounters, is at the heart of this film. (Note of caution: The movie does not follow John Merrick's life terribly accurately...neither did the play. When I read the biography of Merrick that his doctor, Treves, wrote, I got his "true" story, which is just as moving in its own way.) David Lynch, we all know, is a "difficult" director, at least when it comes to narrative continuity. This movie, however, is his most accessible (along with THE STRAIGHT STORY, which doesn't even feel like a Lynch movie). It tells a straightforward story...no dancing dwarfs, no little people behind radiators, no Wizard of Oz references, etc. etc. No Laura Palmer. However, the touches he brings to it are pure Lynch, and they serve the movie profoundly. For example, the movie takes place in the midst of the early Industrial Revolution, when science was becoming more "popular" or "glorified" by the masses. It was also a time when London was awash in factories, and all the noise and pollution they wrought. If you've seen ERASERHEAD or DUNE, you know that Lynch likes to have lots of background noises of machinery. Often, those sounds are distracting. In ELEPHANT MAN, we are constantly aware, through these sounds, that we are in a very specific time and place, where the lifeblood of society was machinery, but big, dirty, unsubtle, dangerous machinery. This, coupled with the glorious black and white cinematography, truly create a mood that is unequaled. Also, there are some brief dream sequences in which Merrick sees his mother. She flits in and out of his dreams in a manner only Lynch can evoke. No one has ever been better at capturing on film the elusive nature of dreaming...that dreams are a crazy combination of good things and bad things happening all at once. These dreams are not a "device" but a window into Merrick's soul. Those of us who remember when the film first came out remember the constant rehashing of the "I am not an animal, I am a human being, I am a MAN!!" line that Merrick yells out when cornered in a train station. This howl of despair is one of the most gripping moments EVER put to film. I tear-up just thinking about it. The makeup is incredible. Having seen photos of the real Merrick, I can state that the makeup crew got it right! And the black and white helps to mask any imperfections. And underneath the makeup... ...is John Hurt, a fabulous actor in the role of his lifetime. He brings a delicacy and gentleness to the part that has to bee seen to be believed. I guarantee you'll be moved. Hurt is ably assisted by Anthony Hopkins in a role which calls for restraint, and he delivers, which is unusual for Hopkins, who can overact at the drop of a hat...I love him, but sometimes he can overdo it, you must admit. The rest of the cast is full of familiar British character actors, as well as a brief but incandescent appearance by Anne Bancroft. Everyone is at their very best. Initially, the film snags the viewer because of our fascination at seeing a human being so horrifically monstrous. It holds a lurid fascination that fades into compassion and empathy. If a person as horribly mistreated by his fellow man, as well as by fate, can find beauty, forgiveness, tenderness and love flowing from him and to him...well, the film leaves you to draw your own personal conclusions. I know that Lynch receives more ongoing accolades for his disturbing BLUE VELVET, and of course, for the groundbreaking TWIN PEAKS...but THE ELEPHANT MAN is the one I'm always drawn back to. I simply cannot recommend this film highly enough. Moviemaking doesn't get any more heartbreaking and effective than this masterpiece.

Allow me to start out by saying that I hate biopic-type movies. They usually tend to be formulaic and trite, and they often either reduce extraordinary lives into ordinary ones, or take such liberties with the truth that they cease to have any meaning. The Elephant Man is, though, a glorious exception. Filmed in black and white with the visual flair that only comes from a visionary director (in this case, David Lynch), The Elephant Man is the story of John Merrick, a man whose horrible disfigurement has left him unable to live a normal live, to exist in society, or even to make a living--he has to be paraded as a freak in order to survive. He is eventually discovered by Frederick Treves, a London doctor who is interested in John's medical case. Treves eventually finds John to be an intelligent and sensitive man, and while Merrick begins to find acceptance among the hospital staff and London society, Treves struggles with his own guilt about using John to elevate his own career. It is the journeys that the two men take which form the backbone of this film, which includes more than a few genuinely touching moments. John Hurt, previously best known for being the ill-fated incubator for the alien in Alien, delivers one of the most astonishing performances in film history here--he becomes this man, down to the body language, speech, and subtext--there is little suspension of disbelief required here. Anthony Hopkins plays Treves with quiet dignity and humanity, showing again why he is one of his generation's greatest actors. Plaudits also go to John Gielgud as the hospital governor and Anne Bancroft as a sympathetic London stage actress who champion's Merrick's cause. Unlike most biopics, this one actually shows the struggles and triumphs of its character. Merrick desires nothing more than what should be his birthright--a normal life. Ultimately, this is impossible. He nevertheless manages to find happiness--and even joy--thanks to the kindness of Treves and his staff. That he was able to achieve even this modest goal, in spite of his massive physical ailments and disfigurement, is something which is truly inspiring. If the society we live in is one which is excessively preoccupied with appearances, then The Elephant Man is a film which offers an impassioned rebuttal against such thinking, and even though it is very sad, it is ultimately uplifting in that it provides an example of the triumph of the human spirit, at risk of spouting cliche. It follows some of the genre conventions, but it all seems fresh and interesting, like a work of literature, not a dime-store potboiler. This film should have won several Oscars but didn't win a single one. It is interesting to note that the year in which this film was produced, 1980, was also the year of Raging Bull and Ordinary People, which makes three modern classics made in a single year. Has there been a similar situation in the last decade? Ultimately, these movies were the end of an era, the glorious cinema of the 1970s, where authenticity and truth were the watchwords of film. This is a movie which doesn't try to sugar-coat the story of its subject, but lets the subject speak for himself, and thusly becomes an extraordinary picture.

Storia di John Merrick, sofferente della sindrome di Proteo, che gli porta deformazioni su tutto il corpo e particolarmente sulla testa, per cui viene chiamato "The Elephant man". Destinato ad essere un fenomeno da baraccone, viene notato da un dottore, Frederick Treves, che vuole studiare questo caso clinico. Comincerà così la riabilitazione di Merrick nella società, che fino ad allora lo ha considerato un "diverso"e quindi un elemento da ripudiare. Bellissimo film con delle tematiche molto profonde. Bravissimi gli interpreti Anthony Hopkins, John Hurt e Anne Bancroft. Ottima la qualità del BD nonostante l'età della pellicola. Film in bianco e nero con immagini nitide e ottimi contrasti, audio molto buono. Consigliato.

Aunque esta edición en Blu-ray de "El hombre elefante" -dirigida por David Lynch- es la importada de Italia (ASIN: B0041KW81O), contiene menús, subtítulos opcionales y audio en castellano. En cuanto a las características técnicas: La calidad visual de la película -en blanco y negro- es, en general, muy buena, salvo ciertas inconsistencias en determinadas escenas. El audio se presenta en varios idiomas, entre ellos: una pista en versión original en inglés y otra en castellano. La pista original en inglés (DTS-HD MA 5.1) es, al igual que el apartado visual, muy buena. Contiene una excelente acústica frontal y una utilización muy discreta y puntual de los altavoces traseros así como del subwoofer. Además, los diálogos se reproducen y escuchan con total claridad. La pista doblada en castellano (DTS-HD MA 2.0) es inferior en calidad a la versión original pero no puedo analizarla en profundidad ya que solo he escuchado unos breves minutos de la película en castellano (para comprobar que, efectivamente, era castellano y no latino). Dejando a un lado el apartado técnico, decir que el Blu-ray consta de una serie de extras tales como entrevistas al director o a ciertos miembros del reparto. Estos extras están subtitulados en castellano. Por otra parte, el disco viene en un bonito digipack que incluye un libreto con información (en italiano) relativa a la película. Por todo lo dicho, creo que esta edición de "El hombre elefante" es una compra recomendable.

One of the most tragic and emotional movies in cinema history. Picture and sound quality are very good with virtually no graininess at all. There are two mid-length extras, both with English subtitles. All in all, very good release. Highly recommended.

This film holds a denominate place in my heart. Its core is unpretentious and undemanding, never attempting to alter the life of a man and place it in a modern setting. And this is what makes The Elephant Man, or John "Joseph" Merrick, so believable and so lovable. It took the work of Anthony Hopkins' character, Dr. Frederick Treves, to expose the class and intelligence, allowing his tormented past and his defamers to loose their hold on his existence. It is only because of the actions of others, and Merrick's passivity, that he succumbs to their fears and disgust, but ultimately he is the one that fights back in a beautiful scene that showcases him not as a violent man lashing out against those that have berated him, but that of class, collected demeanour, and proud sensibility. This shocks the ignorant and even earns him their respect. It is a wonderful testament to the power of words, forgiveness and of confidence. John's pride, built up gradually by the support of Frederick Treves, surpasses the inherent fears of the public and teaches them a lesson in human decency. This is incredibly inspiring. However, the film never tries too hard to do this; to teach the audience about understanding and acceptance, for that would be hypocritical in itself. You are shown through excellent editing, scripting and acting from John Hurt that David Lynch understands the human psyche regarding the strange abnormalities of life and how it affects everyone else around. There are many ways this is done, but none more obviously and powerfully than the fated conclusion. The end of the story could be seen as somewhat of a downer, as you're reminded of the frailty of The Elephant Man and all that surrounds him, but this is crucial because it demonstrates not only the pride of this brave man, even to his last breath, but also that life within such pride comes to an inevitable end, and that one shouldn't worry too much about it. I think it's making the point that if we are to go out then we should go out with a bang and with a song in our hearts. And to me, that is not such a negative thing; to me, it's pride at its most prevailing and powerful. David Lynch is a fantastic director, as he is able to capture various different themes and voices by utilizing light, sound, angles, and pacing. This means that we are not only offered a tale of pride and loving support overcoming adversity, but also a fine example of film-making. The black and white is entirely befitting and does not strain the eyes or feel forced -- not once did I feel disconnected from the universe or that something was added for shock value or needless artistic merit. The settings and backdrops were full of details and, at times, over-the-top beauty and grime. This helped the audience understand the contrasts of the supportive staff at the hospital and the manipulative group of slackers at the taverns and the circus's. But again, Lynch never forces anything down your throat. The morality of it is certainly not left up to your own self, but John Hurt's acting as John Merrick shows how someone belittled. hurt and totally disfigured and destined for death can still love, still show understanding, and still show some class. That is incredibly inspiring.

David Lynch was, for the most part, an unknown when Hollywood, specifically Mel Brooks ( of all people !!! ), took him on to direct "The Elephant Man". He had only one feature film under his belt at the time, the incredibly dark, disturbing and hypnotically dreamlike "Eraserhead". Not exactly a precedent for taking on a film of such deeply moving and upsetting emotional tenor, but Brooks had complete faith in him. That faith was paid off in spades. "The Elephant Man", since deleted by Paramount ( !!! ), is, in my opinion one of the best films of all time. The cast is incredible. John Hurt gives his greatest performance to date and he is completely unrecognizable as John ( Joseph ) Merrick. Anthony Hopkins' Frederic Treves is a study in reserve and restraint with tumultuous emotions and conflicts boiling under the surface. Freddie Jones as the slimy, despicable Mr. Bytes conjurs up both a hatred of his callous, opportunistic exploitation of another man's suffering and something akin to pity for the "losing his grip" desparation he portrays. Sir John Gielgud is Sir John Gielgud, all class, refinement and authority. And Dame Wendy Hiller transforms from a seemingly heartless, officious dragon lady into a woman of true compassion and strength. Finally a special mention of Anne Bancroft's turn as Dame Madge Kendall is absolutely necessary. For it's in the scene where she brings John Merrick the collected works of William Shakespeare and they randomly pick a scene from "Romeo and Juliet" to read from where we have the most heart-rending emotional moment in the entire film. I defy anyone not to be VERY deeply moved, even to tears, when she tells Mr. Merrick " ... you're Romeo". The film is shot in black and white which is a stroke of genius. All that black, white and gray summons up the grit and inhuman texture of the early industrial revolution in dirty old London. It also functions as a metaphor for the gray areas of moral ambiguity that challenge both the characters in the film and the Victorian mores that alternately reach out to "do the Christian thing" and that see John Merrick merely as a "circus animal". As "Hollywood" as the film was ( a big budget Paramount picture ) Lynch gets to fly here and the film is absolutely full to the brim with his stylistic signatures. The dream sequences hearken back to "Eraserhead", also in black and white. There are those industrial sounds too, so marvellously recorded and altered by Alan Splet, another "Eraserhead" alumnus. Also a strong visual signifier from the "Eraserhead" palette are the infamous "holes" or openings that, in the Lynch visual lexicon, connote portals of transition to another level of consciousness. What strikes me most here is how EACH AND EVERY shot is a shining example of brilliant composition. Each one is framable and warrants hours of attention. Lynch's vision is almost "Rembrandtian", playing beautifully with stunning contrasts of lights and darks, with chiaroscuro as it were. "The Elephant Man" is an entirely satisfying, artistically outstanding, and emotionally cathartic experience that stands the test of time with great strength and style. David Lynch's finest work.