Savage Grace was released at a precarious moment for both Moore and Redmayne: Five years removed from her double Oscar nominations for Far From Heaven and The Hours in 2003, Moore had seen bids at mainstream stardom, like The Forgotten and Laws of Attraction, meet with scathing reviews. These movies take pleasure in depicting suffering, too-just in a different, more easily awardable fashion. Redmayne’s Oscar-nominated performance, too, is effectively that of a secular saint: His character’s real-life complications, including leaving the wife who’d been his longtime caretaker, are given a happy spin, while his heroic bravery in the face of illness gets the focus. The trepidation may well still be with her: Still Alice, despite the challenge it presents Moore, is pretty safe Alice is unimpeachably virtuous, and her downfall is entirely tragic.
Scott described the film’s decadence, its delight in the fall of the Baekeland dynasty, before noting that the movie “doesn’t seem quite sure of how to communicate its own fascination with such doings, whether to convey shock, envy, pity or bemusement.” Moore, in an interview, noted her “trepidation” about the film’s subject matter. The film was too in love with its own glittering images for critics at the time: In the New York Times, A.
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