I am overjoyed to know that this 1980 David Lynch masterpiece, which followed his 1977 surrealist body horror debut 'Eraserhead', will be screened and studied at the Boston-based Coolidge Corner Theatre on Jan 12, 2025.
Here's the link to the event: https://coolidge.org/films/elephant-man
Lynch’s gradual unfolding of the protagonist’s plight with minimal cinematic action and sound akin to sensitive brush strokes was a great ode to the real life tragedy of the Leicester-born Joseph Carey Merrick, born with severe physical deformities, and who endured the pain and pathos of being a freakshow exhibit named Elephant Man, before relocating to a London Hospital, courtesy of surgeon and appendicitis pioneer Sir Frederick Treves who found in Merrick a kindred soul with artistic flair (creating intricate models of architectural buildings and chaste recitation of hymns) as also perhaps a prized specimen for medical research and pathological exhibition.
Hats off to both John Hurt and Anthony Hopkins for their memorable portrayals as Merrick and Treves respectively. Hurt is a timeless case study in how not to let heavy prosthetics come in the way of a sensitive-ahead-of-superlative performance. And for those who know Hopkins only as the brutally ‘hannibalised’ and ‘lamb-silenced’ Hollywood specimen, and are even oblivious of his soulful products like “The Father” or “The Remains of the day” this film is a five-course treat. The support cast is at its stellar best featuring the likes of Anne Bancroft, John Gielgud, and Wendy Hiller.
Having said that, the film largely relies on the memoirs of Treves and does not account for the chronicles of Tom Norman, Merrick's London manager, whose contrary tale claimed Merrick was quite happy with the freak shows.
The truth, if there’s anything that can come close to it, probably lies somewhere in the middle, for it is clear and evident that Merrick’s exhibition was common to both stations – as much to the hospital as to the freakshow.
Wonder whether the lopsided reference is also the culprit for the dilution of the subject matter which is evident in the not-so-convincing frames of Merrick’s exploitation at the hospital premises, as also his kidnapping by his former master, or was it simply a directorial flaw?
Paritosh Raikar make the most of this terrific opportunity of listening to the eminent Boston University Professor, the 'Novel after film' fame Jonathan Foltz.