The biopic is one of the most challenging genres of film to tackle.

Many filmmakers opt for taking on the entire character's life and thus create sprawling epics that ultimately leave the subject thin and empty. Most filmmakers and screenwriters fall into this trap, but the best artists manage to pick a specific period of a figure's life in order to really tell a compelling story.

Such is the case with Mike Leigh, an auteur director not generally associated with the genre. In fact Leigh's films, which often rely on heavy improvisation, could not diverge more from a biopic which is based on actual material and could at times impair that sense of freedom.

And yet, Leigh's "Mr. Turner," based on one of the greatest painters of all time, is a masterwork and one of the best biopics of recent memory. It is massive (over two and a half hours) and yet intimate in its execution. Most importantly, it is filled with a wealth of detail, rich characters and beautiful cinematography.

The film opens with a phenomenal shot of a landscape and sunset that would replicate one of the iconic painter's best works. The film follows two women walking and slowly pans with them as they move toward the camera. As they walk past the frame, the camera captures the image of Turner (Timothy Spall) in silhouette. This single shot lasts some time and sets the mood for the film in many ways. The two women are barely visible but it suggests the two are major women in the film, while the silhouette of the character implies his rather complex nature.

The film's opening act showcases Turner at his apex. He is revered in England as one of the best painters of his generation. He has a tremendous relationship with his father (Paul Jesson). He has a large group of friends and is enjoying a prolific artistic period. From here the film takes the viewer on a journey through the eccentric artist's sexual life, his fall from grace (at least in the mainstream's eyes) and his eventual demise.

Those hoping for a structured narrative will be put off by the freedom of Leigh's, but those familiar with the auteur's work will undoubtedly know what to expect. The film moves in episodic manner managing to encapsulate a wide range of tones. Leigh pokes tremendous fun at famed art critic John Ruskin -- a wondrously agitating Joshua McGuire -- while presenting a rather dark side to Turner in his sexual relationship with family maid Hannah Danby. There are moments of tranquility, particularly when Turner comes face to face wit the Temeraire, and there are moments of intense suffering (when a major character in his life dies).

Spall is the center of the film as Turner. He moves about in awkward fashion, bringing attention to the fact that Turner is not just another person in the crowd -- he is unique. His groans and animalistic grunts contrast wonderfully with moments of snappy repartee. In one of the most powerful scenes in the film, Turner moans the death of a loved one while sketching a young prostitute. Spall's guttural response is so bestial that the visceral effect is almost impossible to bear. His eyes are potent throughout, giving the viewer a window into the every inquisitive soul of the famed painter.

The other major standout in the film is Dorothy Atkinson's tragic Hannah Danby. From the outset, it is clear that she is also rather awkward in her movements -- she also has a horrific skin disease that will eventually transform her into a sort of monster -- but is very servile toward her master. In one of their opening exchanges, she asks him if he wants anything else from her. He immediately places his hands on her breasts and then makes his way to her abdomen before disposing of her as any old garbage. Later in the film, he has sex with her. When she tries to kiss him, he moves away instantly, leaving the viewer with her longing face. Throughout, Hannah will be framed on the outside of a group looking in; she is the perennial outsider and her stare indicates that she longs for one word of love from the "gargoyle," as Turner calls himself. As the film progresses and she becomes increasingly quiet, the visual expressions take on even greater prominence and the sense of loneliness becomes all the more powerful. This is all juxtaposed with her increasingly deteriorating skin condition which disfigures her tremendously. It is an interesting character to be sure as her inability to articulate her desires makes her reminiscent of the Victorian Angel in the House (though the story takes place prior to this era and ends at its outset).

The remaining performances, including Jesson as Turner's gallant father and Marion Bailey as Turner's soul mate Sophia Booth, are also equally powerful.

The cinematography is another fascinating character in this film. Cinematographer Dick Pope stated during the New York Film Festival screening press conference that they chose to create a color scheme that mirrored the palette of Turner's paintings. In many instances, the shots themselves look like the famous paintings themselves. But another major visual characteristic of the film is the subtlety of the shot selection. There are no major gestures and Pope and Leigh opt for long takes in most scenes, allowing for the viewer to take in the scene at large. Close-ups are used sparingly, making them all the more effective. Another visual motif is shooting from behind Turner, obscuring his face, but allowing the viewer to see what he is seeing. It all sums up to an immersive experience that is beautiful and unforgettable.

The music is also used minimally but it is far from what is to be expected of period fare. Instead of romantic melodies, Leigh opts for dissonant chamber music. This creates an eerie effect that paradoxically suits and clashes with the world and character of the film.

Mike Leigh has taken a huge risk with "Mr. Turner," but, true to form, the veteran director has yet another hit. Timothy Spall could add an Oscar for Best Actor his collection that already includes the Cannes away for the same distinction after an unforgettable performance. This is a film that offers a wondrous perspective on one of the great artistic geniuses of all time.