The Danish Girl 2015 123movies

Watch: The Danish Girl 2015 123movies, Full Movie Online – Copenhagen, Denmark, 1926. Einar Wegener (played by Eddie Redmayne) and his wife Gerda (Alicia Vikander) are a happily married couple. Both are artists, Einar preferring landscapes and she portraits. One day Einar poses for a portrait of Gerda’s while wearing a dress. This is initially done as a lark, as is the later attendance at a party dressed as a woman. However, Einar soon discovers that she is in fact a woman and over time prefers being Lili. At first she and Gerda try to have her situation “cured” but this leads nowhere (other than to many doctors trying to have Lili locked up as a pervert and/or lunatic). Her voyage of self-discovery will ultimately lead to her undergoing the first ever sex-change operation..
Plot: When Gerda Wegener asks her husband Einar to fill in as a portrait model, Einar discovers the person she’s meant to be and begins living her life as Lili Elbe. Having realized her true self and with Gerda’s love and support, Lili embarks on a groundbreaking journey as a transgender pioneer.
Smart Tags: #transgender #gender_identity #lgbtq #adultery #painting #1920s #marriage #copenhagen_denmark #infidelity #portrait #extramarital_affair #cheating_on_wife #transgender_protagonist #male_full_frontal_nudity #doctor #pubic_hair #lgbt #thinness #dancing #secret #gay_friend

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Ratings:

	7.1/10 Votes: 186,951
	66% | RottenTomatoes
	66/100 | MetaCritic
	N/A Votes: 5300 Popularity: 26.975 | TMDB

Reviews:

**Highly militant, a more neutral film would have been better.**

This is a difficult film to comment on. On the one hand, and speaking exclusively from a technical point of view, it is a really good and well-made film. On the other hand, I have many questions and points of disagreement that prevent me from really approving it. And the reader better be ready to disagree healthily with what I write, because I’m not used to hiding what I think, or amputating my opinions under the guillotine of political correctness.

I know that the film was acclaimed when it came out and that the publicity machine sold it very well. I also know that it is one of the most beloved films in the GLBT (and all the letters and symbols they want to add) community. I have already written some reviews of other films, in which I criticized the excessive yielding to political correctness or moral/social lobbies. Since cinema is an artistic and leisure experience, I don’t like to see it used for advertising or indoctrination of ideas and morals. We are supposed to enjoy watching a film and seeing the talent and artistry of those involved, not feeling that the film is trying to tell us what we should think about a subject or a theme, which is what this film tries to do. For this indoctrination, the script addresses an unknown figure: Einar Wegener, a Danish landscape painter little known internationally because he became known more as a “trans” personality than as a painter.

Married to Gerda Wegener, also a painter, it was only after he was married that he discovered (or assumed) his femininity, moving to Paris and starting to assume himself as a woman and using the name Lili Elvenes. What is certain is that he was one of the first men to undergo a surgical process of genital reconstruction, which ended with the rejection of the transplanted organ and the generalized infection that led to his death. The clinical process was burned by Nazism. From that time, only a few of Wegener’s diaries and testimonies of those who knew him survive, material that was, after his death, collected and edited in the book “Man Into Woman”, in 1933. Far from being a biography (much less an autobiography, as it is commonly called), the book’s objective was to make the public aware of the details about Wegener’s condition and the innovative and risky medical procedure he agreed to undergo.

Conveniently, the script had just enough historical data to concoct a good melodrama, full of heartache, existential doubts, and plenty of trans-friendly material. It was what was wanted. More pragmatic issues, such as the relationship between Einar and his original family and the consequences of his transition on his art, and on its acceptance by the public and the market, are never addressed. The film prefers to convey propaganda, as in the famous scene in which the character is attacked in a garden. Such aggression has no logic in a city as liberal as Paris and there is no historical data to sustain that Wegener was assaulted or insulted in that city, where the couple moved in order to have more artistic opportunities and live the frenzy of the Roaring Twenties. However, in order to fulfill its doctrinal role, the film needed to give that pin to those who, today, discriminate “trans” people, so the scene was placed at a point where the public would already have a certain sympathy with the character. Militant from start to finish, the film irritated me greatly. A neutral approach, faithful to the known facts and allowing the public to think for itself, would have been better.

Despite not liking the way the film was conceived, I loved Eddie Redmayne and Alicia Vikander’s work. They dedicated themselves, especially her, which earned her an Oscar, awarded with complete justice (the question of being a Supporting Actress or not seems to me a minor issue, and perhaps she also thought so). The only objection I have to make is this: why not a legitimate “trans” actor for the lead role? I understand Redmayne’s choice, but I don’t think he even looks like the real Wegener. Well, to be honest, I didn’t like Amber Heard either, I think her character is left here, and it would have been better to replace her with someone closer to the main character (one of Wegener’s brothers, for example).

Technically, the film has good production values ​​that are worth noting: the sets and costumes are excellent and recreate very well the era and the environments where the characters move, the cinematography is really very good and the choice of filming locations it was done in a very thoughtful and judicious way. The soundtrack, despite sounding mellow and slow, fits well in the film.

“You helped bring Lili to life, but she was always there.”

_The Danish Girl_ certainly took a long time getting to the big screen. The script went through dozens of iterations after David Ebershoff’s book was first was optioned. The cast changed numerous times. Directors passed it back and forth. Finally, after fifteen years of floating around, Tom Hooper’s film was released. And while the lead performances were brilliant, the film itself felt a bit flat. And weirdly, this seems to be something we say far too often about films that take a long time to get to the silver screen. Join us – Pete Wright and Andy Nelson – as we wrap up our Transgender series with Hooper’s 2015 film _The Danish Girl_.

We talk about what works in the film, but we really try to dig and figure out what might be causing it to have its issues. We look at the journey the book took to get to the screen, and look at the age-old question of what responsibility do filmmakers/storytellers have to the original story and the original people when making biopics. We discuss Eddie Redmayne and Alicia Vikander and what they bring to the table here, along with their fellow thespians. We chat about the incredible look this film has and how it fits in with the story. And we touch on how this series has opened our eyes to other great films that we would love to share down the line.

This was a fun series, even if it ended on a bit of a downer note. It did give us perspective for the world of transgenders and what they go through to feel ‘right’ in their own bodies. We have a great time talking about this movie, so check it out then tune in!

Andy’s star rating: 3 stars
Pete’s star rating: 3.5 stars
Average star rating: 3.25 stars

To listen to The Next Reel’s episode on _The Danish Girl_, please visit: thenextreel.com/tnr/the-danish-girl.

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Solid acting and great cinematography
Though it is nominated for 4 Oscars I wasn’t looking forward to seeing it. The Danish Girl seemed like the typical arty-farty Oscar fare on paper but fortunately it was better than that. The best part of the film is the acting. Eddy Redmane does a great job but I was most surprised by Alicia Vikander. She almost steals the movie though she only has a supporting role. Mattias Schoenaerts is also in it with a supporting role and I must say: that man can do just about any language and accent and make it sound completely natural. The story was not that interesting to me and is somewhat of a typical subject matter for Oscar movies (that is movies about some sort of misunderstood minority and who was the first to start the revolution if you will). That being said, it is a very good movie, superb acting but on the other hand I don’t consider this a must see.

“The Danish Girl” is a very touching, but controversial and oversimplified story.
“He’s comfortable in his own skin,” is usually seen as a compliment. It means that the person in question knows who he (or she) is and is content with that sense of identity. I dare speculate that it’s a condition to which we all aspire. Unfortunately, many people around the world lack that inner peace because of a question of gender identity. Regardless of what others think about such an existential situation, people who feel uncomfortable with the biology with which they were born often suffer greatly over this conflict within their hearts and minds. They cannot be comfortable in their own skin, because they don’t feel that their skin is really theirs. Before the somewhat more enlightened times of the 21st century, people who identified with a gender other than that to which biology assigned them suffered even more than some do today. In ages past, those people had little opportunity to make changes that would make themselves look on the outside as they felt on the inside. “The Danish Girl” (R, 2:00) is one such story.

Inspired by the true story of early 20th century married Danish painters Einar and Gerda Wegener, like David Ebershoff’s 2000 book on which it’s based, “The Danish Girl” is a fictionalized account of Einar’s physical transition to Lili Elbe. Neither the book nor Lucinda Coxon’s screenplay makes any claim to absolute historical accuracy. This story changes many of the facts for dramatic purposes. The real-life situation of Lili and Gerda’s life was much more complicated than we see on screen. The result is a film that tells a simple story in a way that elicits empathy for the protagonists and enlightens the audience.

Oscar winner Eddie Redmayne plays Einar/Lili, and Alicia Vikander, his wife, Gerda. The couple lives in a large apartment in Copenhagen, Denmark, where they both make a living painting. At first, Einar’s landscapes are more in demand and more respected than Gerda’s portraits. One day when Gerda was in a hurry to finish a portrait of their mutual friend and ballerina, Oola (Amber Heard), Gerda asks Einar to stand in as a model by putting on Oola’s stockings and heels and holding up Oola’s dress in front of him. Although the scene is played with a combination of humor and awkwardness, it’s obvious that Einar likes the clothes. He starts trying on his wife’s clothes which gives birth to an idea. Gerda is a bit conflicted, but being the open-minded person she is, she suggests that her husband dress up as a woman to attend an art world function that he had been trying to avoid. And just like that, Lili is born.

The thing is that Einar had always felt like a female and being Lili was the first opportunity that he had really had to express what he felt was his true gender. Einar wears women’s clothes and make-up more and more often, both at home and out in public. Lili even begins secretly seeing a local man named Henrik (Ben Whishaw). Gerda is understandably upset by all this, but she never criticizes her husband’s inner turmoil or its outward manifestations. She wants to understand, and the more she does, the more she mourns her marriage, which she sees as slipping away. However, as all this is happening, her art career begins to take off. She paints Lili more and more, in fashionable clothes and in little or no clothes. As Gerda’s style develops, increasing demand for her paintings soon leads the couple to move to Paris.

In Paris, Lili blossoms as a person, even as she seeks a more permanent solution to her feeling that her biology doesn’t match her identity. She sees doctors whose diagnoses are wide-ranging, but are mainly focused on Einar/Lili having some sort of mental deficiency. Hans Axgil (Matthias Schoenarts), a childhood friend of Einar, tries to help, but he can do little more than offer moral support to the couple. Finally, Lili and Gerda find a possible solution in the person of German doctor Kurt Warnekros (Sebastian Koch). Dr. Warnekros offers to perform practically unprecedented sex reassignment surgery on Lili.

“The Danish Girl” is a very sensitive portrayal of a very tumultuous experience in the lives of two real people. Whether you sympathize with the situation of the two main characters or not, you’re likely to empathize with them as people. While presenting a story about the controversial topic of gender identity, Oscar-winning director Tom Hooper also tells a very human story within the framework of the movie’s plot. At its core, this is a tale of love and loss, of tolerance and devotion, of feeling comfortable in one’s own skin. Although some Movie Fans may find some of the situations, images and the brief but graphic nudity (both female and male) to be disturbing, and the plot does drag at times, one of the main reasons to see this movie is for the award-worthy performances by the two leads. With impressive emotional range and depth, both Redmayne and Vikander make this story surprisingly rich and relatable. Hooper draws even more focus (literally) to the characters’ feelings by choosing especially significant moments to bring his camera in very close for a tight focus on the characters’ faces, while allowing everything beyond their necks to go out of focus. “The Danish Girl” deserves credit for its honesty, its emotional power and its succinct presentation of a very complicated story. However, some of the changes in the story seem designed to increase the impact of the story, a move I would call emotionally manipulative. For that and other reasons, I just wish that this otherwise excellent film had been more historically accurate. “B”

Other Information:

Original Language en
Runtime 1 hr 59 min (119 min)
Budget 15000000
Revenue 64191523
Status Released
Rated R
Genre Biography, Drama, Romance
Director Tom Hooper
Writer Lucinda Coxon, David Ebershoff
Actors Eddie Redmayne, Alicia Vikander, Amber Heard
Country United Kingdom, United States, Germany, Denmark, Belgium, Japan
Awards Won 1 Oscar. 31 wins & 79 nominations total
Production Company N/A
Website N/A

Technical Information:

Sound Mix Dolby Digital
Aspect Ratio 1.85 : 1
Camera Red Epic Dragon, Zeiss Master Prime Lenses
Laboratory Goldcrest Post Production (digital intermediate)
Film Length N/A
Negative Format Redcode RAW
Cinematographic Process Digital Intermediate (2K) (master format), Redcode RAW (6K) (source format)
Printed Film Format D-Cinema