The Invisible Woman - A beautifully directed and cast Costume Drama

Ralph Fiennes’ first directorial feature since his 2010 debut, Coriolanus, is a well-executed period drama focusing on Charles Dickens (Fiennes himself) at the height of his career when he meets Nelly Turnan (Felicity Jones), a younger woman who becomes his secret lover until his death. Based on Claire Tomlin’s 1990 biography of the same name, Fiennes’ double turn as director and actor shows us how the romance came to be, portraying the effect it had on both of them and serving as a study of adultery, celebrity and social standing of the time.

The story is told through the eyes of Nelly as she reflects back on her time with Dickens in a series of flashbacks. Although a slow burner to begin with, this is more than made up for with the extravagant costumes and settings which put the viewer firmly into this Dickensian world. What then follows is the arc of this blossoming relationship between Dickens and Nelly, coming at the expense of his neglected wife Catherine (Joanna Scanlan), lending potential to various interpretations of who the invisible woman in the title really is.

Dickens comes across as a likeable character with an infectious enthusiasm and grandiose personality, yet this is in stark contrast to his remarkable selfishness. Fiennes depicts him as an individual who only really cares about his own needs whilst maintaining his celebrity relationship with the public. This is most evident when he announces the breakdown of his marriage in a newspaper before telling his wife or children.

The attraction between Dickens and Nelly is one not fuelled by physical attraction, but similar minds. Whilst their passion for each other is clear, it’s Dickens’ works that have seduced and enchanted Nelly. This suggests that the romance is almost a by-product of her burning desire to know the auteur of her favourite literary adaptations as a failed actress herself. Nelly’s mother, Francis (Kristen Scott Thomas), emphasises this point, pushing her closer towards Dickens at which point the stage is set for the inevitable downfall of their romance. The intimate scenes between Dickens and Nelly are extremely awkward to watch, reflecting the fact that her infatuation is primarily with mind, not body.

Jones’ turn as Nelly is the stand out casting choice, closely followed by Scanlan. One of the film’s most crushing scenes involves both women when, in a remarkable turn of events, Nelly’s status as mistress is confirmed by Catherine as she delivers a gift to her from Dickens. It’s emotionally tense, exposing Nelly as shocked and vulnerable, riddled with doubt about how to respond. This vulnerability is evident throughout, as she attempts to balance her inner turmoil with her public facing exterior, something Jones accomplishes with aplomb. An honourable mention should also go to Kristin Scott Thomas, back in more comfortable territory after her performance in Only God Forgives.

Although not startlingly original as a period piece, The Invisible Woman opens a window into the life of a man with significant talent who gets caught up in the public’s adoration of his work and character, showing us his flaws in the process. It’s beautifully directed, and could be very well be an outsider for best costume design this awards window.