This is a civil rights movement, Vikander told me after the film. "I'm proud to be involved in a movie that can be part of that."
And Vikander is crucial to its success. "The Danish Girl," like Redmayne's last movie, "The Theory of Everything," is a portrait of a couple facing immense challenges in changing circumstances. If Vikander's Gerda accepts Lili's new identity, it means the end of their marriage. The film gives equal play to Gerda's difficult journey toward the sensitivity needed to help Lili.
There was a fair amount of talk at the party as to whether Working Title and Focus Features, the film's U.S. distributor, would campaign Vikander for lead or supporting actress. The consensus strongly echoed Redmayne's sentiments: The movie is about a partnership and, like "The Theory of Everything," both actors should be considered leads.
"They couldn't have done it without each other," director Hooper told me. Standing in a corner of the Soho House, looking relieved, Hooper ("The King's Speech," "Les Miserables") said that because he doesn't test his movies, the Toronto screening was only the second time the movie had played for an audience. He believed the reaction here beat the one at the Venice Film Festival in Italy, as some of the movie's lighter moments were lost when subtitled.
With its impeccable craft and moving treatment of a topical story, "The Danish Girl" appears poised to grab the attention of a number of the academy's branches. Nominations for Redmayne and Vikander (wherever she lands) seem assured, and the film will be competitive for picture, director, adapted screenplay, costumes, original score, production design, cinematography and editing.
"It's a lovely, admirable effort," one academy member said. "I don't know how many Oscars it'll win -- I don't think it's as good as 'The King's Speech' -- but it's definitely in the conversation."
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