The Forgotten Drama That Predated Marvel’s Mega-Clash
It’s hard not to feel a twinge of irony when you realize that Tom Holland and Benedict Cumberbatch, two of the Marvel Cinematic Universe’s most recognizable faces, once shared the screen in a film that barely registered on the cultural radar. The Current War, a historical drama about the race to electrify the world, feels like a relic from another era—not just because of its subject matter, but because of the tumultuous journey it endured behind the scenes. Personally, I think this film is a fascinating case study in how external forces can overshadow artistic intent, and what it reveals about the fragile nature of Hollywood’s creative process.
A Tale of Two Titans—And the Film That Slipped Away
At its core, The Current War is a story about innovation, rivalry, and the human cost of progress. Benedict Cumberbatch plays Thomas Edison, the celebrated inventor whose direct current (DC) system lit up Manhattan, while Michael Shannon portrays George Westinghouse, the underdog champion of alternating current (AC). Tom Holland, in a smaller but pivotal role, plays Samuel Insull, Edison’s right-hand man. What makes this particularly fascinating is how the film mirrors the very power struggles it depicts—a battle of visions, not just between Edison and Westinghouse, but between director Alfonso Gomez-Rejon and the infamous Harvey Weinstein.
From my perspective, the film’s portrayal of Edison and Westinghouse as flawed geniuses is a missed opportunity to explore the darker side of innovation. Edison’s cutthroat tactics and Westinghouse’s risky gamble on AC are more than just historical footnotes; they’re a reminder that progress often comes at a cost. Yet, the film’s rushed production and subsequent shelving feel like a metaphor for the very power dynamics it tries to critique.
Weinstein’s Shadow: How a Scandal Derailed a Film
One thing that immediately stands out is how The Current War became collateral damage in the Harvey Weinstein scandal. The film was originally slated for a December 2017 release, positioned as an awards season contender. But when the #MeToo movement exposed Weinstein’s crimes, The Weinstein Company crumbled, and the film was left in limbo. What many people don’t realize is that Gomez-Rejon had already been battling Weinstein’s notorious interference, which included rushed editing, endless notes, and a TIFF premiere that felt more like a deadline than a celebration.
If you take a step back and think about it, the film’s journey is a stark reminder of how systemic abuse can derail art. Gomez-Rejon’s vision was compromised, and the initial cut shown at TIFF was far from what he intended. The “Scorsese clause,” which required Martin Scorsese’s approval for any changes, was a lifeline—but it came too late to save the film from its initial mixed reviews and eventual shelving.
A Second Chance—But Was It Enough?
The film’s resurrection in 2019 as The Current War: Director’s Cut felt like a victory for artistic integrity. Gomez-Rejon finally got to release the version he’d envisioned, and critics like Chris Evangelista gave it a more favorable reassessment. But here’s the irony: despite the creative win, the film flopped at the box office, earning just $12.2 million against a $30 million budget.
What this really suggests is that timing is everything in Hollywood. By 2019, the cultural moment had passed. Audiences were more interested in the record-breaking Avengers: Endgame, which grossed $2.79 billion and cemented Cumberbatch and Holland’s status as global superstars. The Current War simply couldn’t compete, and it slipped through the cracks—a fate that feels almost poetic for a film about forgotten pioneers.
Why This Story Matters—And What We Missed
In my opinion, The Current War is more than just a forgotten film; it’s a cautionary tale about the intersection of art, power, and timing. It raises a deeper question: how many other stories have been lost to the whims of industry giants or the tides of cultural shifts? The film’s struggle to find an audience is a reminder that even the most well-intentioned projects can be overshadowed by forces beyond their control.
A detail that I find especially interesting is how the film’s themes of innovation and rivalry echo its own behind-the-scenes battles. Edison and Westinghouse’s war of currents feels like a metaphor for Gomez-Rejon’s fight to preserve his vision against Weinstein’s meddling. It’s a shame that this layer of meta-commentary was lost on most viewers, buried under the weight of the film’s troubled history.
Final Thoughts: A Film Worth Revisiting
Personally, I think The Current War deserves a second look—not just as a historical drama, but as a testament to the resilience of artists in the face of adversity. It’s a film that asks us to consider the cost of progress, both in the past and in the present. While it may never achieve the blockbuster status of its stars’ Marvel outings, it offers something far more valuable: a glimpse into the complexities of creation, and the battles fought to bring stories to life.
If you’re curious, I’d encourage you to seek it out. It’s not a perfect film, but it’s a fascinating one—a reminder that even the most forgotten stories can spark important conversations. And in an era dominated by superhero epics, maybe that’s the kind of current we need.
