The Power of the Dog<\/a>. First up though, Cumberbatch takes on the title role in Will Sharpe\u2019s comic biopic The Electrical Life of Louis Wain, which finds the Sherlock actor in rather more familiar territory as another eccentric genius with bizarre interests and a severe lack of social skills.<\/p>\nWain, an English artist most widely known for his playful drawings of large-eyed cats, is introduced as a \u201cpolyhobbyist\u201d \u2013 an unusual man who jumps from one activity to the next with great gusto and varying degrees of skill, his wide-ranging pastimes running the gamut from boxing to writing operas. It\u2019s clear from the outset that chaos \u2013 and often misfortune \u2013 follows Wain wherever he goes, with his life presented as a rather frenzied, unpredictable ordeal. Two things, however, emerge to give this life some shape: his clumsy courtship with governess Emily Richardson (Claire Foy), which forms the narrative thrust for the first half of the film, and his aforementioned cat drawings, which prove a great hit with the masses and eventually play a role in popularising the feline as a common household pet in the UK.<\/p>
The film goes to great lengths to mark itself out from more traditional, by the numbers, biopic fare \u2013 and while its ambition on this front is to be applauded, the result is something that\u2019s all just a little too quirky for its own good. The film\u2019s visual stylings aim to mirror its title character\u2019s own eccentricities \u2013 there are unusual camera angles, retro-stylised black and white flashbacks, still shots that are transformed to resemble paintings, and all manner of other techniques intended to evoke a sense of whimsy (including subtitles that show a pet cat saying things like \u201cI like jomping\u201d). It\u2019s all very deliberately quirky in a way that skirts the line between charming and irritating but too often falls into the latter category, while the film unfortunately also mirrors Wain\u2019s rather scatterbrained nature by becoming increasingly unfocused in its latter half, which skips through the years from one misfortune to the next without any real sense of rhythm.<\/p>\n
Sharpe is clearly a talented director with a good eye \u2013 there are some great compositions to enjoy and the film often looks beautiful \u2013 but perhaps he would have benefited from adopting a less is more approach at times. Of course, there\u2019s nothing wrong with a little whimsy, and the film\u2019s subject matter practically demands it in this case, but the rather exhausting nature of the forced quirkiness often just gets in the way of the film\u2019s emotional core, and it would have benefited from everything being dialled down a little. Indeed the most affecting moment from an emotional standpoint is one of the film\u2019s most stylistically understated \u2013 an intimate scene shared between Cumberbatch and Foy while the latter\u2019s character is suffering from poor health \u2013 and more of this would have been welcome.<\/p>\n