The Elephant Man turns what could be a standard biopic about an extraordinary subject, into an artistic emotional gut-punch masterpiece of cinema… but we’re putting the horse before the cart a bit there…
For those not familiar, The Elephant Man concerns the life and times of Joseph Merrick (John Hurt, Alien), a man living in the late-Victorian era, stricken with what was believed to be Proteus Syndrome. The illness left him drastically deformed and therefore only able to survive by appearing in various sideshows… a lifestyle that led to shocking emotional and physical abuse.
Fortunately Merrick falls under the care of London surgeon Dr. Frederick Treves (Anthony Hopkins, The Silence of the Lambs) who treats him with kindness before inadvertently turning John into the toast of ol’ London Town.
But, has John just become a more classed-up sideshow exhibit, displayed to the elite of society instead of for the common man, or has he genuinely found a home and happiness?
Coming from Director David Lynch (Dune, Twin Peaks), the true life-tale of John Merrick becomes a pseudo-dark fairy-tale of sorts, which is really hammered-home by the film’s opening; a fever-dream affair where John’s mother is accosted by a rampaging elephant resulting in her trauma implied to have been the cause of Merrick’s affliction… a concept known as maternal impression, an admittedly ridiculous notion which still held popularity in 19th Century England.
Adding to the otherworldly ambiance is the presentation of Victorian London itself, presented here in a shadow filled, tactile chiaroscuro accented by Freddie Francis’ (1991’s Cape Fear) lush cinematography. Filled with harsh textures, angry pipes hissing with steam and gas, and dilapidation at every turn, the city becomes a twisted version of what a city should be, much like John’s body is a fun-house mirror reflection of “normalcy”. It creates a fascinating dichotomy (much like the above mentioned high class/low class worlds John inhabits during his tumultuous life) and makes the city itself become a character within the narrative.
The performances on display here give the proceedings palpable gravitas and emotion, with Hurt expertly eliciting sympathy for Merrick (aided and abetted by jaw-dropping practical make-up effects), while preserving John’s constant sense of beauty and wonder in the world around him regardless of the cruelty heaped upon him.
Hopkins shines as well as Treves, a man of science who oft wrestles with his care and compassion for John butting heads with the notion of him using the man for his own societal gain, even if it is often inadvertent.
The supporting cast is stacked with great performances as well, and is comprised of legendary thespians such as Sir John Gielgud (Murder on the Orient Express, Arthur), Anne Bancroft (The Graduate), Freddie Jones (Krull, Young Sherlock Holmes), and Wendy Hiller (A Man for All Seasons, Pygmalion)
Tying it all together is John Morris’ (Blazing Saddles, Clue) score that brings the sense of sideshow wonder (and had to have been influence on Danny Elfman’s oeuvre), but music is used sparingly, wisely letting the visuals do the mood-setting, and it’s absence is noted during many scene cuts giving the editing courtesy of Anne V. Coates (Lawrence of Arabia) even more of a Golden Era Hollywood feel definitely reminiscent of the classic Universal horror films (esp. Whale’s Frankenstein and it’s sequel), and to that end, there’s some serious Browning D.N.A. present here as well.
It goes without saying (but I’m going to), the picture on display for this 4K (additionally, a separate Blu-ray edition is present here) is rich in detail and rich blacks… but would you expect anything less from Criterion?
Speaking of those fine folks, they’ve also included a host of special features on the Blu edition which include: archival interviews with cast and crew, a book recitation featuring Lynch and co-author Kristine McKenna, an archival documentary detailing The Elephant Man’s production, an examination of the real life of John Merrick, the film’s trailer (along with a selection of radio spots), and a booklet featuring additional conversations with Lynch and a letter written in 1886 letter to the editor of the London Times concerning Merrick by Francis Culling Carr Gomm (played by Gielgud in the film), chairman of the London Hospital.
A study of human dignity reflected through a suitably distorted lens, Lynch’s The Elephant Man is a tour de force and this edition is the best way to experience it!
