Every so often, there is a movie that moves audiences without ever manipulating or entering into saccharine territory.

James Marsh's latest film, "the Theory of Everything," is an genuinely emotional tale that brings out the best performances from its leads.

The film tells the story of the relationship between the famous physicist Stephen Hawking (Eddie Redmayne) and his wife, Jane Hawking (Felicity Jones). Part biopic and part love story, Marsh is able to fuse the two and tell a beautiful tale of a marriage that falls apart as Hawking's ALS disease grows ever present between the two.

When the film begins, Hawking is a bright and promising Cambridge student who is filled with energy while Jane is a youthful girl also working on a degree in Spanish and French. When their relationship begins, there is tenderness and purity in it. When Hawking is diagnosed with the disease, Jane is at first kind, tender and supportive. However, as their relationship develops, she begins to have a hard time coping as Stephen can no longer walk or eat on his own. When she meet the local chorus director from the church, Jonathan (Charlie Cox), Jane seeks his help. Jane begins to develop a close relationship with Jonathan and while it threatens to ruin Stephen and Jane's marriage, Marsh never goes into the melodramatic and maintains it very subtle.

Part of the mastery of the film is Redmayne's physical performance. From the start, Redmayne's presence is a bit awkward as he always has his head down and he does not walk in the most confident position. However, once Hawking is diagnosed, Redmayne slowly loses his mobility. First you can see it in the slow movement of his hands and then later with his feet. Redmayne curves his feet inward and walks with two canes. His vocal inflections also begin to sound mushier as opposed to the refined speech he has at the beginning. Later, when he loses all mobility and is stuck to a chair, Redmayne portrays Hawking's immobility with perfection. He moves his fingers, his mouth barely opens and his head must be moved by the characters he interacts with. And finally, when he is unable to speak, Redmayne's eyes express everything. In the first scene where he is told he will never speak again, Redmayne's eyes were filled with sadness of lost hope. However, towards the end of the movie, there is some joy in the eyes, even though he is unable to speak.

If Redmayne's performance is a masterclass is physicality, Jones is able to bring out all types of emotions through her expressive and subtle face. At the beginning, all you see is a woman filled with joy and tenderness. However, as she realizes she can no longer cope, all smiles are lost and Jones brings out a melancholic touch to her Jane. All the youthful splendor withers away and it is best expressed through her expressive eyes. One of the most tender and devastating scenes is when she is teaching Hawking the alphabet for the first time. Jones tries bring out some positive energy in the scene, but as she realizes the difficulties that lie ahead, she begins to tear up. It is her biggest defeat up to that moment and the viewer knows that she has reached the breaking point and will no longer be able to cope.

Cox gives a gentle and subtle performance that imbues the lonely state of Jonathan while Maxine Peake gives a spirited turn. Emily Watson brings her usual screen gravitas to the small role of Jane's mother while David Thewlis and Christian McKay are charismatic as Hawking's school teachers.

The production design by John Paul Kelly and the costume design by Steven Noble are spot on as they are able to transition the times periods with ease. Benoit Delhomme's cinematography is filled with energy as it is always moving on a Steadicam, a dolly or with a crane. It provides the movement that Hawking is unable to have but also imbues the energy that the character has. Best of all is Johann Johannsson's rich score filled with magical colors and beautiful melodies that represent the love story at the center of the film.

If the film has any pitfalls, it is in the aging makeup on Jane and Stephen. On one hand, they barely look older by the film's end, and one shot that showcases their oldest son brings this to light. Seeing this young man, the viewer feels as if he were the same age as his parents. At the same time, this is a film about time and Hawking considers the possibility of time travel to the past. In some ways, keeping these two characters looking like they have not aged one bit supports this idea and theme. But that might be a stretch that few audiences are willing to take.

Ultimately, "The Theory of Everything" is receiving Oscar buzz and all the attention it is getting is undoubtedly well deserved. The movie features some of the best performances of the year coupled with an emotional journey that is sure to inspire. Be prepared to tear up. More than once.

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