CREATION (UK 2009) ***
Directed by Jon Amiel

CREATION based on Randall Keynes biography of Charles Darwin is director Jon Amiel’s (TUNE IN TOMORROW, THE SINGING DETECTIVE) most beautiful film.  But it is at times terribly boring and tedious.

The film CREATION tells the story of Charles Darwin in his pursuit of publishing his work – The Origin of the Species – which comes to conflict with the beliefs of the Christian religion of the times.  When the film opens, Darwin (Paul Bettany) is ill, both mentally and physically.  Amiel’s film alternates back and forth through meticulously shot flashbacks when Charles daughter Annie was still alive before succumbing to her illness.

The script by John Collee (yes, this is the guy who wrote HAPPY FEET) concentrates on the conflicts of Darwin in having his work published.  The actual work (very intriguing, obviously) is only displayed during the first third of the film – the impressive opening credit sequence; the time motion photography).  The conflict is shown to be resolved by Annie’s ghost (Martha West) as well as a physician and his trusted friends.  But Amiel’s film goes on and on during the second half of the film to show how much suffering Charles had to go (a revisit to Annie’s sick hospital bed; quarrelling with his wife; fighting with his best friend and pastor; going mental with imaginary meetings with Annie) through to recover.  Enough is enough and the audience has got the point.  Worst still, Amiel falls into trap of imposing a clichéd styled climax.  The wife (Jennifer Connelly) burns what Charles thinks is his work in an outdoor fire.

CREATION is mostly bleak in its outlook.  Darwin is depicted for all his misery rather than glory.  At one point in the film, Charles’ supporters (Toby Jones and Benedict Cumberbatch) remark that Charles was no longer the man he was.  Unfortunately, Amiel never allows his audience to experience the man, working at his peak with all his brilliance and fervour. 

I loved CREATION on first time viewing but could hardy sit through the second viewing.  The adage rings true that a good film should hold for multiple viewings.  But Amiel’s film should be seen for its impressive first third and for Paul Bettany’s brave performance.