Based on the true life story of John Merrick (played under a load of make up by John Hurt, with a performance that I would argue remains his finest achievement), this is a fairly straightforward look at someone who was viewed as a freak for most of his life. And even those who sought to help him ended up falling into a trap of occasionally putting him on display for the benefit of others. The main person to try helping Mr. Merrick is a doctor named Frederick Treves (Anthony Hopkins), who decides to home the man in the hospital he works at, helped in his endeavours by a matron (Mrs Mothershead, played by Wendy Hiller), and the governor of the institution (played by John Gielgud).
Describing various moments from this movie would easily make you question my opening paragraph. There are some nightmare and dream sequences that certainly wouldn't be out of place in other Lynch movies, and nor would the idea of evil making visits in the guise of various humans. But here, couched within a film that has such a strong emotional core in the plight of Mr. Merrick, it all feels a bit different. The darker, sometimes surreal, touches are just that. This is a story told respectfully and effectively by Lynch, with incidents in the script (co-written by himself, Christopher De Vore, and Eric Bergen) that show why it would appeal to him, cinematically.
The performances are brilliant across the board. Hurt gets all of the praise, and rightfully so, but he's rivalled by the beautifully restrained, for the most part, turns from Hopkins, Hiller, and Gielgud. Freddie Jones and Michael Elphick are far less restrained, playing the kind of nasty and abusive individuals who wouldn't look out of place in a classic Dickensian tale (which this very much feels like), and you have a number of familiar faces in smaller supporting roles: Anne Bancroft (who gets a few wonderful main scenes alongside Hurt), Dexter Fletcher, Hannah Gordon, Lesley Dunlop, Pauline Quirke, and Kenny Baker.
The black and white cinematography is gorgeous, whether scenes are crystal clear or murky when showing the smoke-filled and less hygienic back lanes of London, and Freddie Francis deserves no small amount of praise for his contribution as director of photography. In fact, this is a film in which I wish I could namecheck everyone, from the make up team to the costume designers and on and on. I always remember that film is a collaborative effort, and am always aware that when writing reviews I am picking and choosing the "main names" to discuss, but The Elephant Man is a classic that simply emanates care and hard work from every frame, making me feel more remiss than usual in not listing every credited contributor.
If you have seen this before then revisit it some time, when you can handle something serious, rewarding and moving. If you haven't seen it yet then get to it, and do it as soon as possible.
9/10
You can buy the movie here.
Americans can buy a disc here.
