Two years ago at the Toronto International Film Festival, a movie about Thomas Edison, George Westinghouse, Nikola Tesla and, for a climax, the dazzling illumination of the 1893 Chicago World’s Fair, failed utterly to ignite the movie world.
En route to its premiere, “The Current War” met with more than the usual amount of uber-meddling from distributor Harvey Weinstein of The Weinstein Company. A few weeks after the Toronto festival, The New York Times published the first history-making story by Jodi Kantor and Megan Twohey detailing a gathering storm of sexual assault and serial harassment allegations against Weinstein. After decades of one mogul’s predation and dozens of actresses’ maligned and sucker-punched careers, suddenly, that was that. The unreleased “Current War,” meantime, went into turnaround and became an asterisk.
Now there’s a director’s cut of “The Current War,” already released in England, featuring newly shot footage, various cuts, reorderings and additions, a new musical score and a 10-minutes-shorter running time. I never saw the earlier version. This one remains a bit of a mess but a pretty interesting one, as well as one of the few films this year deserving (in both admirable and dissatisfying ways) of the adjective “instructive.”
Director Alfonso Gomez-Rejon (“Me and Earl and the Dying Girl”) sweats like crazy to visually energize a story largely about alternating current versus direct current, embodied by the driven, competitive but very different inventors and industrialists at the story’s center. The fictionalized history covered by “The Current War” takes place in the last two decades of the 19th century. Benedict Cumberbatch stews and furrows his way through the role of the perpetually distracted Edison, in a performance more concerned with interior tension than audience love. Unkempt, increasingly unscrupulous in his competitive tactics, Edison also lives in the shadow of personal tragedy; Tuppence Middleton portrays his wife in a few quick early scenes.