THE STORY – In 1847 a mysterious epidemic is raging in a maternity clinic in Vienna, while the doctor Ignác Semmelweis tries to defeat puerperal fever by going against all traditional theories.
THE CAST – Miklós H. Vecsei, Katica Nagy & László Gálffi
THE TEAM – Lajos Koltai (Director) & Balázs Maruszki (Writer)
THE RUNNING TIME – 127 Minutes
Historical events are generally fertile ground for riveting storytelling. At least, there’s the potential to find an interesting avenue to explore a real-world event because the actions depicted do not exist in a fictionalized vacuum. The characters once existed, and their strife and actual consequences impacted the world as we know it. It’s why there’s such a calling for audiences when “based on true events” flashes on the screen, and people can lean in with a sense of intrigue. This can be especially potent for tales that may have gone unnoticed, prompting the chance of discovery of some important procedure or individual responsible for grand achievements that have gone unrecognized. Still, the subject must be compelling, not only for its factual background but also in crafting an enthralling story. “Semmelweis” has its eye fixated on an important breakthrough but also inconsistently presents an engaging portrait.
The film is set in 1847 Vienna, and Emma Hoffman (Katica Nagy) has just been hired at a maternity clinic while an epidemic of death rages through the wards. She is immediately placed to work with Ignac Semmelweis (Miklós Vecsci), a senior doctor who is more curt than his fellow physicians but also shows an intellectual cunningness that makes his skillset valuable. He is trying to determine why the mortality rate is much higher in their clinic than in other facilities in the area. His probing is, of course, met with resistance, especially from Professor Klein (László Gálffi). As the manager, he is offended by any accusations that their problems are the result of his leadership and practices, so he serves as a roadblock to many of the suggested steps. However, Semmelweis is determined to find the root cause of these deaths, which eventually leads him to significant findings that have helped those going through childbirth to this very day.
Being a period setting, the film has ample opportunity to bask in its detailed craft design that textures this setting nicely. At least, that’s the initial impression one gets. That is, this would be the impression if director Lajos Koltai had not seemingly embraced a flat and uninspired visual aesthetic that permeates most of the filmmaking. It’s odd for an Oscar-nominated cinematographer to restrain imagery to such uninspired compositions, with only occasional streaks of shadows or golden hues to punctuate the monotony. The director does an adequate job of moving the story along at a fairly enticing pace, though there are further restraints from the screenplay. For his efforts, Koltai never overcomplicates things, but what he produces also feels more akin to a glossy TV movie from a decade ago rather than a cinematic period drama.
While the filmmaking is not extraordinary in any regard, it often fares much better than Balász Maruszki’s script, which has a proclivity to indulge in blunt directives that leave little nuance with any character’s motivations. The introduction of Emma starts with an insinuation that she’s prone to having affairs with her superiors, which the narrative doesn’t ever develop into a more interesting arc for her and instead leaves her to be a less captivating individual. Dr. Semmelweis is drawn in the broadest of descriptions, dedicating himself to a work that leaves little else for internalized exploration save for the aforementioned affairs. He’s often styled to look like he’d grace the cover of a cheap romance paperback and sometimes feels just as nuanced. Most of the conflicts that arise are intriguing on the surface, but mining this drama results in muted tensions. The major exception would be in the film’s climax, where an inquiry board is assembled to determine if the good doctor will be dismissed due to suspected bad practices. It’s a simple setup but one that is much more engrossing than what came before.
As the title character, one would suspect Vesci to carry most of the material on his shoulders, but, in all honesty, his performance ends up mostly just being satisfactory. He presents typically as the radical trying hard to disrupt an incompetent system, but there is little modulation in his presence that would make him a more alluring figure. He broods when necessary but in a somewhat hollow manner, and the chemistry he shares with Nagy is also rather stilted. Their rapport is fine but never representative of burning passion. The material constrains them, but they don’t do much to elevate it either. Gálffi does, managing to find layers of humanity within a man who so easily codes as shamelessly evil. There is a tragedy he infuses into the role of a more arresting figure, always showcasing the sinister undercurrent without ever leaning into histrionics. There’s also a fun turn from Anna Györgyi, Semmelweis’s landlord, who provides a cantankerous old lady whose sharp observations are always good for producing a smile.
There’s a recognizable pattern that “Semmelweis” fits within that would, at first glance, make it seem like a worthy endeavor. While the results may seem like a simple solution by today’s standards, it is a notable event in the annals of medical history. It makes sense that some dramatization would come to pass, but this particular execution still seems unfulfilled. The final product is not an utter failure, as it features a competent hand in the filmmaking to guide this narrative along, and there are enough bright spots within the ensemble to be entertained. Ultimately, however, the presentation can’t escape rigid trappings that force its energy to remain inert. The imagery is unimpressive, and the thematic commentary is generally shallow. What is showcased here is a middling work whose passion to shed light on an important moment in time did not translate to a more provocative viewing experience.
