The Elephant Man

Despite the rich associations, the film finally makes little more of its central figure, a hideously deformed young man, than an object of pity. Read full review

I kept asking myself what the film was really trying to say about the human condition as reflected by John Merrick, and I kept drawing blanks. The film's philosophy is this shallow: (1)Wow, the Elephant Man sure looked hideous, and (2)gosh, isn't it wonderful how he kept on in spite of everything? Read full review

If you thought the sweetness of The Straight Story was unprecedented in Lynch’s work, look again at this earlier true-life tale of odd, everyday heroism. Read full review

David Lynch's superb and subtly ironic 1980 film reveals the shining humanity in a horribly disfigured--and horribly mistreated--young man who actually lived in England in the late 19th Century and was rescued by an enlightened Victorian physician. Read full review

The Elephant Man has great dignity, sweetness and compassion in this portrait of an unlucky monster who must fight to make other humans recognize his humanity. But it lacks dramatic punch and repeats its effects rather than developing a truly complex texture. [06 Oct 1980, p.71]

In David Lynch's film, the Elephant Man has become a drooling Latex monster. There is nothing wrong with Hurt's performance - it is quite moving - but there is a great deal wrong with a movie that adds insult to injury by unconscionably holding back the revelation of the make-up. [04 Oct 1980]

It is an absorbing and satisfying drama, and Hurt’s Merrick is very powerful. Read full review

What we eventually see underneath this shell is not the study in dignity that Ashley Montagu wrote about, but something far more poignant, a study in genteelness that somehow supressed all rage. That is the quality that illuminates this film and makes it far more fascinating than it would be were it merely a portrait of a dignified freak. [03 Oct 1980, p.C8]

A very pleasurable surprise. Lighted by Freddie Francis, this film is perhaps the most beautiful example of black-and-white cinematography in about 15 years.

Lynch’s powerful depiction of Merrick (played by John Hurt) moves a viewer from revulsion and fear to empathy and tenderness. Read full review

Hurt is brilliant as Merrick, projecting in his anguished eyes and mournful body language a humanity past the makeup that embodies so convincingly the pain of Merrick, the original elephant man, whose rare disease was exploited by the people running a Victorian freak show. Read full review

This is a tale of redemption and transcendence, of the hunchback of London Hospital, of the noble phantom who want to go to the opera, of Beauty and the Beast. In Treves' account, though, the Beast was a Beauty. In Lynch's hands, so is this film. Read full review

A marvelous movie, shot in stunning black-and-white by Freddie Francis. Read full review

Hurt gives a tour de force performance, masterfully conveying emotions while unable to use his face or even much of his voice. Read full review

Hopkins is splendid in a subtly nuanced portrayal of a man torn between humanitarianism and qualms that his motives in introducing the Elephant Man to society are no better than those of the brutish carny. The center-piece of the film, however, is the virtuoso performance by the almost unrecognizable John Hurt. Read full review

A powerful period setting might have taken up the slack, but Lynch doesn't impose the past as vividly as the theme demands. Nor does he place us in a position to appreciate Merrick's fears and longings as if they were our own. [17 Oct 1980, p.C1]