![]() ![]() ![]() Vikander’s initial shyness gives way to a wholly convincing desperation as justice inevitably catches up with them. As the story progresses, they get to address inner traumas through markedly contrasting approaches. Our natural urge is to side with the lovely people rendered morally impotent by their conspicuous motivations.įassbender and Vikander (now a couple in real life) throw themselves at the parts with irresistible enthusiasm. Her tragedy is greater than anybody’s but, focusing on the great romance between Tom and Isabel, the film cannot help but treat her as an inconvenient impediment. ![]() Rachel Weisz has a thankless task as Hannah. Yet nobody seems aware of her plight until after the baby’s christening. It seems that the missing child belonged to Hannah, a woman from the town where Isabel grew up. If the film worked harder to nudge itself into the realm of fable, then the galloping improbabilities would be easier to take. Because Isabel is still grieving and Tom has “seen things” in the first World War, they kick aside all logic and decide to pretend the baby is their own. A rowboat washes up with a dead man and a crying baby inside. One day, a terrible miracle comes to pass. Isabel is desperate for a baby and, following two miscarriages, she finds herself fighting with a desperate depression. ![]()
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