Back in 2015, I read Simon Winchester’s The Professor and the Madman (which I reviewed here) as part of my graduate school work. It was one of the few pleasures that course of study provided me. So I was delighted to learn that a movie had been made of the story, and that it was available on Netflix.
According to what I see online, star Mel Gibson (who plays Prof. James Murray, head of the Oxford Dictionary of the English Language project) was very unhappy with the way the film was made. He and writer Farhad Safinia sued the producers, and they finally came to an undisclosed settlement. Apparently the film we have is not the one Gibson dreamed of.
I’m glad I read about that after I’d seen the film, because what I saw pleased me immensely.
Overall, the movie covers events as described in the book. Dr. William Minor (Sean Penn), an American military surgeon unbalanced by his experiences in the Civil War, murders an innocent London laborer, under the delusion that he is an Irishman who’s been persecuting him. Judged insane, Minor is confined to the Broadmoor Insane Asylum. His life begins to find some focus again when he answers Prof. Murray’s appeal for volunteers to hunt out historical citations of various English words for the dictionary. Working obsessively with books allowed him by the asylum director, he provides the project with a much-needed boost.
Meanwhile, Prof. Murray, who lacks a university degree but got his position through plain expertise in languages, suffers professional and social opposition from the scholars at Oxford University Press. A long-distance friendship arises between him and Dr. Minor, but it’s only when he finally goes to present Minor with a first printing of part of the work that he discovers his friend is a madman.
Meanwhile, Minor – though still delusional about many things, is tormented by guilt and attempts to get his pension money conveyed to his victim’s widow. At first she rejects his help angrily, but in time her genuine desperation and his genuine remorse result in a strange affection – leading to a shocking outcome.
As in all dramatic productions, events are rearranged and re-molded to suit the creators’ vision. And dramatic moments happen that never happened in our world. But the film’s vision, as I perceived it, was a very fine one. It has to do with guilt and forgiveness and love, and the importance of work in our lives. It doesn’t rise quite to the level of Christianity, but there are Christian themes all over the place.
The depiction of Victorian England is rich and convincing. The performances are excellent.
My one great complaint is that in one scene, a character – an Oxford scholar, no less – misuses the phrase, “begs the question.” That just isn’t done, old man.
Cautions for very disturbing scenes of violence and insanity. Not for the kids.