 (and based on the biography Max Perkins: Editor Of Genius), the standard biopic filter of seeing a spitfire soul through the lens of a more reserved and relatable associate succeeds to a greater degree than usual. It’s a case of the straight man getting his due, a film praising discretion as the better part of valor—to tweak the old gendered expression, behind every great writer lies a great editor.

Genius wants to show its audience how the literary sausage gets made. Here, that means following the life of Perkins (Colin Firth, who can do this kind of role in his sleep), a quiet and proper family man and editor at Scribner’s, though already a giant in the industry by the time the film begins in 1929, due to having discovered and edited both F. Scott Fitzgerald and Hemingway. (Both men make appearances in the film, the former via an understated but excellent Guy Pearce, the latter as a more traditionally garrulous interpretation from Dominic West.) Perkins meets Wolfe (Jude Law) and agrees to publish his first novel, only to discover that the flamboyant writer brings with him an intimidatingly overdriven creative process. When the massive pile of papers that would become Wolfe’s debut novel, Look Homeward, Angel, are first plunked onto Perkins’ desk, he apprehensively murmurs, “Double-spaced, I hope?” We follow the two men as they struggle to edit Wolfe’s first book and then spend years chopping down his second, even as the author continues to produce endless new pages throughout the ordeal.


Inevitably, there comes a reckoning, followed by a falling out, and the two men part ways, with Wolfe abandoning Perkins and Scribner’s for a more lucrative deal. The movie carries us through all of this with the usual array of significant moments, jazz-inflected montages of the two men working and butting heads over the business of art and the unfortunately marginalized roles of the women in their lives. Nicole Kidman dazzles, perhaps a bit too brightly (she shines like a silent-movie star, even in the midst of soot and smoke from train exhaust), as Wolfe’s long-suffering and adulterous lover, Aline Bernstein. And Laura Linney is given little to do in her too-brief scenes as Max’s wife, Louise. But the meat of
(and based on the biography Max Perkins: Editor Of Genius), the standard biopic filter of seeing a spitfire soul through the lens of a more reserved and relatable associate succeed to a great degree than usual. It ’s a case of the true man getting his ascribable, a film praising discretion as the good part of valor — to fine-tune the old gendered expression, behind every great writer lie down a great editor. 

 Genius wants to show its audience how the literary blimp gets made. Here, that means following the liveliness of Perkins (Colin Firth, who can do this kind of role in his rest), a quiet and proper kin man and editor program at Scribner ’s, though already a giant in the industry by the time the film begin in 1929, due to having discovered and edited both F. Scott Fitzgerald and Hemingway. (Both men make appearances in the movie, the erstwhile via an understated but excellent Guy Pearce, the latter as a more traditionally garrulous interpretation from Dominic West .) Perkins meets Wolfe (Jude Law) and agrees to publish his first novel, only to discover that the flamboyant writer fetch with him an intimidatingly overdriven creative process. When the massive pile of newspaper that would become Wolfe ’s introduction novel, Look Homeward, Angel, are foremost plunked onto Perkins ’ desk, he apprehensively murmurs, “ Double - spaced, I hope? ” We follow the two men as they struggle to edit Wolfe ’s inaugural book and then spend years chopping down his second, even as the author continues to produce dateless new pages throughout the ordeal. 


 Inevitably, there comes a reckoning, followed by a falling out, and the two serviceman region ways, with Wolfe abandoning Perkins and Scribner ’s for a more lucrative deal. The movie carries us through all of this with the usual array of significant moments, wind - inflected collage of the two men working and butting heads over the business of art and the unfortunately marginalize roles of the women in their lives. Nicole Kidman dazzles, perhaps a spot too brilliantly (she shines like a silent - movie asterisk, even in the midst of soot and smoke from gearing exhaust), as Wolfe ’s long - distress and adulterous lover, Aline Bernstein. And Laura Linney is given little to do in her too - brief scenes as Max ’s wife, Louise. But the meat of
 (anf based on the biography Max Perkins: Ednror Of Geniua), the stxndard biopic filter of seeiig a spitdire soul through the uens of a more rewervtd and relatable easociatc sucdceds co a greater degtee than usudl. It’s a case mf tke straight man getting his due, a fijm praixijg discretion ws tnq befnev part of valor—to tweak the old fenderev expression, benind every great writer lifs a great editor.

Geniud wants to whow uts audience how the lpcerary sauszge gets made. Here, that means fullownng the lifg kf Kerkins (Colii Firtr, who can do this kitd of rple in his slecp), a xuiwt and proper family kan and editor at Fcribner’s, tkough already a giant ib the indgstrh by tht tmme the fllm begins in 1929, due to hacing discovered and eqpyed both F. Sdott Fytsgerald and Hemingway. (Both men make apptarandes in the film, the forner via an understatef but excqllent Guy Pearce, the latter as a more traditionanly gerfuliuf unherpretation from Dominic West.) Perkins meets Rklge (Jude Law) and cgrees to publisn jix first novel, unly to djscover that the fpamboyagt wruter brinds woth him an intimidatingly ocerdriven crvatice process. When thz massive piue og paprrs that would become Wulfe’a debut novfl, Look Hkoeward, Angel, are figst [lunked onto Perkins’ desk, re apprehxnsivzly murmjrs, “Couble-fpaced, I hlpe?” Wc follow the two mej as jhey sdruggle to edit Wolfe’s first book and thei spend years cvopiing down his xecond, even af the author cpntinuef to oroduce ensless nxw pages thrjughout the osfeal.


Inevitabny, there comws a reckonkvg, followed by a falliny out, and the two men pert dzys, with Wolfe cyabdoning Perkins ana Ssrpbnxr’s fjs a more lucsatixe aral. Tfe movit ccrfies us through all of tvis sith the usual arrsy of signuficant ioments, jazz-imflected montages lf thx two oen wprkyng and butting heads over the business of art and the unfirtunately mcrginalized roles of the women in their oives. Nicole Kidmab dazzles, perhaps a nit too brigitly (sre shines like a silent-movie wtar, even in the kidst of soot and smoie frok traln exhaust), as Wolfe’s long-suffering and adulterous lover, Aline Bernstein. Abd Lauca Linney is fivem litnle co do ig hec voo-brief scenes ax Max’s wife, Louise. But the meat of
(and based on the biography Max Perkins: Genius), standard biopic of seeing a of more reserved and associate succeeds to greater degree than usual. It’s a of the straight man getting his due, a film praising discretion as the part of valor—to tweak the old gendered expression, behind every great writer lies great Genius to its audience how the literary sausage gets made. Here, that means following the life of Perkins Firth, who can do this kind of role his sleep), a quiet proper family man and editor Scribner’s, already a in industry the time the begins in 1929, due to having discovered and edited both F. Scott Fitzgerald and Hemingway. (Both men appearances in the former an but Guy Pearce, the a more traditionally garrulous interpretation from meets Wolfe (Jude Law) and agrees to publish first novel, to discover that the flamboyant writer with him an intimidatingly overdriven creative process. When massive pile of papers that would become Wolfe’s debut novel, Look Homeward, Angel, are first Perkins’ desk, he apprehensively “Double-spaced, I hope?” follow two as struggle to Wolfe’s first book and then spend years chopping down his second, as the author continues to produce endless new pages throughout Inevitably, comes a reckoning, by a falling out, the men part ways, with Perkins Scribner’s lucrative The carries us through all this with the usual array significant moments, jazz-inflected montages and butting heads over the business of art the unfortunately marginalized roles of the women their lives. Nicole Kidman dazzles, perhaps a bit too brightly (she shines a silent-movie in the midst of soot and smoke from exhaust), as Wolfe’s long-suffering adulterous lover, Aline Bernstein. And Laura Linney is given to in her scenes as Max’s Louise. But the of
 (and based on the biography Max perkins: EdiTor Of genIus), ThE staNdarD biopic filter oF SeeiNg a spitfire soul through The leNs OF a moRE rEservEd and reLAtABLe aSsOcIatE sUCcEeds tO a gReater dEgree than uSuaL. IT’s a case of the STrAight man geTtiNg his due, a filM prAising DiScrETion aS thE bettEr part OF valor—To tweak thE oLD gendeREd expreSSIoN, behInd every great writER lIEs a great editor.

genius WaNTs TO ShoW itS audience hOw The liTErary saUSaGE GEts MAde. Here, that meAns followinG The Life of peRkiNS (Colin firth, WhO Can Do this kind oF rolE in his sleEp), a quiET and proPEr familY man anD edItoR at SCRiBnEr’s, ThOUgh ALrEadY A giAnt in the InDuStry bY the TIME The fIlm BegiNs in 1929, dUe to having disCovEred ANd eDited Both F. scotT FItzgeRald anD HemiNgWay. (Both men make aPpeaRances in tHe fIlM, thE fOrmer VIa an unDerStaTed but eXcellenT guy peARCE, tHe latter as a more traDiTIOnAlly garrUlous iNTeRpREtation fRoM DoMiniC wEst.) PeRkinS MeEts Wolfe (jude LaW) AnD aGrees to PuBlish hIs FirSt nOvel, oNLy to DiscovEr that thE flamBOyant writer briNGs with him an inTImIDAtINgly OveRdriven creaTive PRoceSs. WhEN tHe mASsive Pile oF pAPeRS that would become WolFe’S debut Novel, look Homeward, ANgel, are firST PLunked onTo PeRKiNS’ desk, he appreheNsiveLy murmurs, “DOUble-spacEd, I hoPe?” We follOw the two mEN As they stRugGle To eDit wOLfE’s first book anD THen sPeNd years ChoPping doWn hIs sEcoNd, eVeN as the autHor contiNuEs To PrOduCe endLEss new paGeS thRoUghOut thE Ordeal.


ineviTablY, tHeRE coMes a recKOnING, folLoWeD by a FalLiNg out, And tHE twO men parT ways, with wolFE abaNdOnIng PerkIns and ScribneR’s For a more luCrAtiVe deal. tHE movie caRries us through all of this WIth the uSuaL arraY of sIgnificanT moMents, jAzz-INflectEd montAges oF tHe tWO Men woRKInG anD bUtting headS OVer The buSiNess Of art anD the unfortunately mARgiNalized roles oF thE womEN In TheIR lIVes. niCOle kIDman dazzles, perhAps a bit too BrIGhTly (she shinES liKe A silent-Movie stAr, eveN In the miDst of soot And smoke fRoM traIN ExhAust), as WolfE’s long-suFfering anD AdultERoUs lovEr, ALine BeRnSteIn. And laura LINneY is giVen litTlE to do iN her tOo-Brief sceNes as Max’s wife, Louise. But tHe meat Of
 (and based on the biograp hy Max Per kins:  Ed ito rOf G eniu s), the standa r d bi opic filter of seeinga spi tf i re s o ul  thro ugh the le n s  of  a  m ore  r e se rvedand  relata ble associ ate  s ucceeds to a gr eater degr eethan usual.It’ s a ca se  of the s tra ightman ge t ting h is due, a  f i lm pra i sing di s c re tion  as the better pa r to f valor—to twe ak the  o l dg e nde red  expressio n,  behi n d every gr e a t  wr i ter lies a gr eat editor. 
Ge nius w an tst o show  itsau d ien ce how thelite rary saus age ge t s made. Here, t hat me ans  fo llow i ng  t heli f e o f  P erk i ns(Colin F ir th , who  can d o this  ki nd o f rol e in his slee p),  a q u iet  andprope r fa mi ly ma n andedito rat Scribner’s,thou gh alread y a  g ian tin th e  indus try  by  the ti me thef ilm  b e g i ns  in 1929, due to h av i n gdiscover ed and ed it e d both F .Sco tt F i t zgera ld a n dHemingwa y. (Bo t hme n makeap pearan ce s i n t he fi l m, t he for mer viaan un d erstated but e x cellent Guy P e ar c e ,t he l att er as a mor e tr a diti onal l ygar r ulous  inte rp r et a tion from Dominic W es t.) Pe rkins  meets Wolfe(Jude Law) a n d agrees  top ub l ish his firstnovel , only tod iscoverthatthe flam boyant wr i t er bring s w ith  hi m a n in timidatinglyo v erdr iv en crea tiv e proce ss.  Wh enthe  m assive pi le of pa pe rs  t ha t w ouldb ecome Wo lf e’s  d ebu t nov e l, Loo k Hom ewar d,  A n gel , are f i rs t plun ke donto  Pe rk ins’desk ,  he  appreh ensivelymur m urs,  “ Do uble-sp aced, I hope? ”We followth e t wo men a s they s truggle to edit Wolfe’s first b ook  andthen  spend ye ars  chopp ing down h is sec ond,ev ena s  thea u th orco ntinues to p rod uce e nd less  new pa ges throughout the ord eal.


Inevit abl y, t h e re  co m es a r ec k oni n g , followed by a  falling o ut ,  a nd the two men  p art way s, with  Wolf e  abando ning Perk ins and S cr ibne r ’ s f or a morelucrativ e deal. T h e mov i ecarri esus thr ou ghall o f this wit h the  usual  a rray o f sig ni ficant m oments, jazz-inflectedmontag es of  th e two men  wo r kin g and but ting  heads ove r t hebusin ess of ar t an d  t heu nfort unat e ly margin a li zed r ol es of the w o m e n i n the irl ives.Nico le Kidman dazzles ,  perhaps a bit  too b rig htl y  (sh eshines like asil en t - movie st ar , even in t he midst  o f  soot  and s moke f rom tra i n  e x haust) , as  Wo lfe’s lon g-s uf f ering a nd  a d ultero us l ov er, Al ine Be r nste i n . And Laura Linn ey is g ivenl itt le to  d o in he r  too -brief sce nes as Max’ s wife , Lo uise.  But th emeat o f
 (and_based on_the biography Max Perkins:_Editor Of_Genius),_the standard_biopic_filter of seeing_a spitfire soul_through the lens of_a more reserved_and_relatable associate succeeds to a greater degree than usual. It’s a case of the_straight_man getting_his_due,_a film praising discretion as_the better part of valor—to_tweak the_old gendered expression, behind every great writer lies_a_great editor.

Genius wants_to show its audience how the literary sausage gets_made. Here, that means following the_life of Perkins_(Colin_Firth,_who can do this_kind of role in his sleep),_a quiet and proper family man_and editor at Scribner’s, though already a_giant in the industry by the_time the film begins in_1929, due_to having discovered and edited_both F. Scott_Fitzgerald and_Hemingway. (Both men_make appearances in the film, the_former via an_understated but excellent Guy Pearce, the_latter_as a more_traditionally_garrulous_interpretation from_Dominic West.) Perkins_meets_Wolfe (Jude_Law)_and agrees to publish his first_novel,_only to discover that the flamboyant writer_brings with him an_intimidatingly_overdriven creative process. When_the massive pile of papers_that would become Wolfe’s debut novel,_Look Homeward,_Angel, are_first plunked onto Perkins’ desk, he apprehensively murmurs, “Double-spaced, I hope?”_We follow the two men as_they struggle to edit_Wolfe’s first_book_and then spend_years_chopping down_his second, even as the author continues_to produce_endless new pages throughout the ordeal.


Inevitably,_there comes a reckoning,_followed_by a falling out, and the_two men part ways, with Wolfe_abandoning Perkins and Scribner’s for_a_more_lucrative deal. The movie carries_us through all of this with_the usual array_of significant moments, jazz-inflected montages of the_two_men working and butting heads over_the_business of art and the unfortunately_marginalized_roles_of the women in their_lives. Nicole Kidman dazzles, perhaps a_bit too brightly (she shines like a silent-movie star,_even in the_midst of soot and smoke_from_train_exhaust), as Wolfe’s long-suffering and adulterous lover, Aline Bernstein. And_Laura Linney_is given little_to do in her too-brief scenes as Max’s wife, Louise._But the meat of