Director: Ami Canaan Mann
Writer: Julia Fisher Farbman
Stars: Natalie Dormer, Clancy Brown, Jimmi Simpson
Synopsis: 1969. Dr. Audrey Evans joins world-renowned children’s hospital and battles sexism, medical conventions, and the subterfuge of her peers to develop revolutionary treatments and purchase the first Ronald McDonald House, impacting millions.
There is perhaps no other genre quite as maligned as the ever-present biopic. I have been one of its many detractors as every year we are inundated with “important stories” or tales of untold greatness; from Lee to A Complete Unknown. It is no longer enough to tell these stories in a straightforward way. Because we are all aware of the tropes and signals of biopics, only the greats, like Oppenheimer or The Social Network, will stand the test of time. The rest, well meaning as they may be, are likely to be watched and forgotten. One of the reasons that the above examples are lasting is due to their decisions to focus on specific sections of their subject’s life. But the exact section matters.
Audrey’s Children is the latest on the biopic train, focusing on Dr. Audrey Evans. Evans pioneered treatment for Neuroblastoma, an incredibly deadly form of cancer which, before her advancements, killed 90% of patients, many of which were young children. She was also the Chief of Pediatric Oncology at the Children’s Hospital of Philadelphia. Further, she was one of the founders of the Ronald McDonald House, helping to provide housing for millions worldwide. And herein lies the problem. Choices must be made in what to cover, and for how long in a standard two-hour film. Entire movies could be made about the founding of the house, about her struggles bucking up against a misogynist system, or about her new treatment strategies.
The film, instead, covers all of these areas. Director Ami Canaan Mann does an admirable job of balancing all of these ideas, from a script penned by Julia Fisher Farbman. The film begins with Audrey (Natalie Dormer) immediately making waves on the staff in Philadelphia, including Dr. C. Everett Coop (Clancy Brown) and Dr. Dan D’Angio (Jimmi Simpson). Dormer expertly performs the role with equal parts good humor, hardened focus, and kindness. This is a difficult performance that feels effortless, as all of these many plots hinge on Dr. Evans being both aspirational and charismatic.
The movie mostly gives lip service to the assumed sexism she must have faced before reaching the heights of her profession. This is understandable given the incredible life and accomplishment of Dr. Evans. Audrey’s Children has to make room for her research, her connection with her patients (the titular children), her incredible passion and intelligence, battles with hospital administrators, and even a burgeoning romance with Dan. None of these plotlines are problematic, in and of themselves, but the story seems a bit out of balance.
All of that being said, it is nearly impossible to not be moved by this incredible story. After all, the focus is children literally dying from cancer. Really, the moments where the film loses its motivation is when it is forced to set the time and place. One can almost feel the effort being made, despite little payoff. Although the production design (Amber Unkle) and costume design (Sarah Maiorino) do an admirable job, the film ends up looking just slightly muted. Audrey’s Children is at its best when focusing on the intensity of Dr. Evans and her relationships. Her back-and-forth conversations with Coop ring true, if a bit too focused on capturing the look of future Surgeon General. On the other hand, Simpson and Dormer together, though chaste, have an immediate spark and connection that is impossible to ignore. Despite the romance being a B plot, every time they are together, we simply want more. His gentleness, paired with her passionate desire for both life and the children afflicted by Neuroblastoma, makes for a relationship that pulls the movie forward despite its crowded screenplay.
As the film moves through her many accomplishments in the second half, it moves with a speed that is staggering in comparison to the rest of the plot. It plays as a bit of a greatest hits montage, and there is where the frustration can creep in again. The sheer amount of good that Dr. Evans has done, in many different arenas, ends up being what holds Audrey’s Children back from greatness.
This is a good, honorable story to tell. Despite many wonderful performances, a story worth telling, and emotional connection, Audrey’s Children will not be seen as one of the greats of this particularly difficult genre. However, it nowhere near the bad side of the biopic. Dormer, Simpson, and Brown all make this a worthy, if eventually forgettable watch.
