La mujer invisible

Claire Tomalin in the first chapter of 'The Invisible Woman' states that Fanny and Ellen Ternan were 'written out of any biographies of both Dickens and Trollope for two reasons'. Thus begins the first of many such statements that appear in her book that can't be substantiated. They are not facts, though they are presented as such. Any film based on the book by Claire Tomalin can only suffer, as a result, from the contrived nature and bias of the book.

Yes, this film might have deserved 8 out of 10 stars if Charles Dickens hadn't come into it and it was simply the story of a writer who had an affair with a much younger woman in Victorian times. Unfortunately, Charles Dickens does come into it, and he has come into it in every review and discussion about this film that I've come across so far.

The first half of Ralph Fiennes' film is beautifully nuanced and utterly delightful in its depiction of Dickens and his relationship with the Ternan family through their mutual love of the theatre. The developing relationship between Dickens and Ellen Ternan is persuasive in cinematic terms - until the downward slide into the mire of 'revelations' spawned by Claire Tomalin's book.

Stripped of meaningful content, cinematography and acting too become meaningless. When a film is based on the life of a great writer like Charles Dickens, those who have read widely about his life and work will feel uneasy when he is taken out of context to fulfil a role aggressively forced on him by a less than scrupulous biographer or film maker. The so-called 'revelations' translated to film may spoil one's enjoyment of the narrative as surely as a poor reproduction of a film to a DVD will lessen its visual impact.

Those who have a scant knowledge of Dickens and his work will more easily be able to accept this depiction of the writer and the man. Sadly, like many of the reviewers and others connected with the film, they may then become 'authorities' on Charles Dickens and his relationship with Ellen Ternan and busily go about perpetuating myths and gross distortions of facts.

By the time furtive sex is followed by the birth of a still-born child and Dickens and Ellen appear unchaperoned in the Staplehurst train crash, the sound of Nelly's pacing on the beach at Margate becomes deafening - but also more laboured. We enter a world of fiction that is not nearly so satisfying. The more the film strays from known sources and tries to convince, the more it flounders and disappoints.

One can only hope someone makes another film about Charles Dickens that does justice to everyone in a way that saves them from the strange mix of sexual fantasy and strident feminism they appear to have generated. While Nelly suffers from not having the reasons for the secrecy surrounding her relationship fully explored, Catherine Dickens and George Wharton Robinson suffer in a way that endows them with as much character as a couple of wooden pieces in a jig-saw puzzle.

'It would be a far, far better thing' to stay home and read Dickens' letters or other biographies or more of Dickens' own writing or Edward Wagenknecht's 'Dickens and the Scandalmongers' or more about the social and sexual mores of the time than to believe this film could possibly shed any light on the less stereotypical but more complex relationship between Charles Dickens and Ellen Ternan.

With The Invisible Woman being the second feature in which Ralph Fiennes tackles Charles Dickens, you may say that the thespian, already known for his love of Shakespeare, has developed a new romance with English literature.

With Fiennes at the helm, this biographical drama, based on the book by Claire Tomalin, takes a stroll into the private life of the public figure, Charles Dickens. Although The Invisible Woman positions itself at the heart of the Victorian literate, this is in fact the story of Nelly Ternan (Felicity Jones); hence the title.

The bulk of this character-piece plays out as a flashback, as the narrative oscillates between the world of Dickens and the world post-Dickens. The mysterious title refers to the young Nelly, an avid-admirer of the literary colossus, as she enters into a secret affair with her idol. She spends the best part of her youth amorously involved with the writer, but given that Dickens was a lot older, it was inevitable that she would outlive her lover.

Alone with her thoughts, Nelly, dressed in mournful black, marches along the beaches of Margate like a sleepwalker in the night, tormented by the loss of her companion; she must find a way to bring that chapter of her life to a close so that she may now move on.

The picture paints Dickens as the talented and charitable man that he was, however we are also privy to a more sinister side of the wordsmith, as we learn of his malicious actions towards his wife (played by Joanna Scanlon).

The camera takes its time, as it soaks up the brilliant performances of the cast and Abi Morgan's (Shame, The Iron Lady) masterful script provides a titillating narrative, as it transports us to the Dickensian period. Ultimately, The Invisible Woman stands as a beautifully crafted piece of filmmaking, however, it somewhat pales in comparison to Fiennes' earlier, more vigorous work. Anthony Lowery

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"The Invisible Woman" (2013 release; 111 min.) brings the story of how famous writer Charles Dickens falls in love with a much younger woman, Ellen "Nelly" Ternan". As the movie opens, we are told it is "Margrave, 1883", where we see Ellen and her husband George hang out with several family friends, Ellen is asked (as apparently happens often) about her "childhood" (which we later learn is really a misnomer) memories of Charles Dickens. The movie then goes to "Manchester, some years back" (in fact, the late 1850s), where we get to know Dickens (played by Ralph Fiennes) as he is trying to turn his book "The Frozen Deep" into a stage play. Then comes about the Ternan clan, mother and her 3 daughters, to act in the play. One of the daughters, Ellen ("Nelly"), only 18 at the time, gains the immediate attention of Dickens (a married man, and 20+ years her senior), and a slowly developing courtship starts to play out. What will become of the attraction between these two in a Victorian society where the rules are strict? To tell you more would ruin your viewing experience, you'll just have to see for yourself how it all plays out.

Couple of comments: first and foremost, this movie is a tour de force for Ralph Fiennes who in addition to starring also directed this movie, I believe his debut as a director. His portrayal of Charles Dickens brims with energy. It is amazing to see how successful Dickens was in his day, truly getting the rock star treatment of that era. Second, the performance of Felicity Jones as Ellen oozes charm from start to finish. She is a veteran of the UK film and TV industry but not so well known on this side of the Atlantic. I think that can possibly change following this performance. Third, the production itself is done exquisitely and hence it is no surprise that this movie just scored an Oscar nomination for Best Costume Design. Last but not least, the movie does a great job bringing the dilemma between the feelings of the two protagonists on the one hand, and the demands/standards imposed by society on the other hand. At one point, Dickens asks Nelly to share a secret with him, and she informs him that her middle name is "Lawless". When she in turns asks for a secret from Dickens, he whispers "Ellen Lawless Ternan... that is my secret", wow.

I recently saw this movie at the Regal South Beach in Miami, and even though I saw it at a weekday matinée screening, the screening was quite well attended (leaning heavily towards women, I might add). It may be there there is a strong demand for this movie, which would be great, as this is certainly a movie that deserves to be seen. Bottom line: if you are in the mood for something that is miles away from your standard Hollywood fare, and learn a thing or two about Charles Dickens along the way, you cannot go wrong with this, be it in the theater or on DVD/Blu-ray. "The Invisible Woman" is worth checking out!

The titular Invisible Woman is Nelly Ternan, the young woman who became Charles Dickens' (1812-1870) mistress. How this liaison came about was a complete surprise to me and therefore must remain unsaid since it would IMO constitute a spoiler (most folks plow right through spoiler alerts anyway so that won't work). Nelly is played by Felicity Jones and Kristin Scott Thomas plays Nelly's mother, both who are more than competent but who have unspectacular roles.

It's all Ralph Fiennes who plays Dickens as ebullient, enthusiastic, and even flamboyant and is given a great opportunity to shine, which he does.. He also directs and was not originally set to play the lead but they couldn't find anyone else. Fiennes dominates the film so and yet the best parts for me was the work of an actress named Joanna Scanian who plays poor Mrs Dickens. Short and rotund and with an appearance of possible simple-mindedness (first impression) she rallies and practically steals the show. She is intelligent, perspicacious in how she views her husband, and is quietly courageous in an awkward scene with Nelly.

After reading the separation letter from Charles, her breakdown is severe yet restrained exhibiting an extraordinary piece of slice-of-life acting. If Charles likeability, which is considerable, is to make us forgive him for his treatment of his wife, it will have to withstand the effect of her scenes, which makes us look at him more harshly. And yet she doesn't attack him directly, it's her person that effects us (and with very little screen time). After reading a little of the history, the film seems a faithful rendering.

There was a film called "The Invisible Woman", a sequel to "The Invisible Man", from 1940, but there is no connection between that film and the 2013 version. This film is not science fiction but the story of the love affair between Charles Dickens and his mistress Nelly Ternan. Nelly is "invisible" in the sense that Dickens, worried about the possible effect on sales of his books, is forced to keep her existence a secret, even though it is common knowledge that he and his wife Catherine have separated. Intercut with the main action are scenes showing Nelly's later life in the 1880s, more than a decade after Dickens's death, as the wife of a man named George Wharton Robinson.

I had previously always thought of Nelly as a gold-digging bimbo, a talentless actress who used her good looks to snare a famous, wealthy older man and lure him away from his wife. That is not, however, how she is portrayed in this film. It is, in fact, Dickens who comes off badly. As played by Ralph Fiennes (who also directed) he comes across as a jovial, fun-loving party animal, revelling in his fame and celebrity, but also deeply selfish, not only in the way he treats Catherine but also in the way he treats Nelly. Nelly herself, by contrast is portrayed as a rather serious young woman, who in many ways shares conventional Victorian attitudes towards sex. She is, for example, shocked to discover that Wilkie Collins, Dickens's friend and fellow novelist, lives quite openly with a woman to whom he is not married. She is in love with Dickens, but is distressed by her ambiguous status and by the fact that their relationship cannot be acknowledged. She is shown giving birth to a stillborn son in France, a detail which clearly betrays the film's origins in Claire Tomalin's controversial biography. I should perhaps point out that not all Dickens scholars are convinced by Ms Tomalin's thesis that Nelly bore his child. (Indeed, some even insist that their relationship was platonic). The fact that the issue is still so shrouded in mystery and controversy, however, does indicate just what lengths he went to in order to protect his privacy.

The Nelly of this film is therefore a complex character, far more than a mere Victorian bimbo, and it is a tribute to the talents of the lovely Felicity Jones, an actress I was not previously familiar with, that she emerges as someone both likable and entirely credible. Fiennes is also good as Dickens, a man uneasily aware that in leaving his wife for another woman he is betraying the family values he once so assiduously championed. (He even called the magazine he edited "Household Words"). Other good contributions come from Kristin Scott Thomas as Nelly's mother and Joanna Scanlan as Mrs Dickens. Although Catherine was the "innocent party" in the breakdown of her marriage, it is all too clear from Scanlan's interpretation just why Dickens felt unable to live with this dull, frumpy woman.

Fiennes the actor is fine, but I was less taken with Fiennes the director. The pace of the film can be excessively slow and the switches between the chronologically earlier scenes, taking place in the late 1850s or 1860s, and the later ones, taking place in the 1880s, were too abrupt and made the story difficult at times to follow. It didn't help that Felicity Jones (aged about 30) looks much the same age in the later scenes (when Nelly would have been in her forties) as she does in the early ones (when she would have been in her teens or twenties). Felicity does have a different hairstyle in the later scenes, but the purpose of this seems to have been to mark the changes in fashion between the 1860s and the 1880s, not to make her look older.

Another thing that surprised me was that the film did not deal directly with Dickens's death or with the immediate impact this had on Nelly's life. It struck me that this was one time when Nelly's status as the "invisible woman" worked in her favour; had she been openly acknowledged as Dickens's mistress she would, given the often hypocritical attitudes of the Victorians towards extra-marital sex, have found it very difficult to make a respectable marriage after the sudden, unexpected death of her protector while he was still in his fifties. (She might have found this difficult even if Dickens had obtained a divorce and made her his second wife). Possibly, however, the scriptwriters avoided any speculation of this nature because it would not have fitted in well with their view of Nelly as the innocent victim of her lover's selfishness.

The film is made in the best British "heritage cinema" style and will doubtless find favour with many fans of that style of film-making. I was, however, in some ways disappointed with it, feeling that its structure could have been clearer and that it could have dealt with this aspect of Charles Dickens's life in greater depth. 7/10