Olivia Wilde’s second feature film behind the camera, do not worry dearHe will be remembered more for his off-screen intrigue – the tabloid romance, the replacement of the protagonist, the seemingly public release of prison papers, the gossip between director and star – than for much more this twentieth time around. The Stepford Wives That’s not to say it doesn’t have some significant perks, including a starring role for the attractive and dependable Florence Pugh, who hasn’t played much of a woman in danger since. midsomari. It also earns points for showing Chris Pine just how fiendishly charismatic the villain can be.
The high-concept, low-satisfaction psychological thriller marks an ambitious update on the Wilde scale of a character-driven comedy. smart bookingAnd confidently handle the physical aspects of the project. It’s a shame all the effort went into the script without the disarming news of a 2019 debut.
do not worry dear
High gloss, low originality.
One of the big draws, of course, is the boy Harry Styles, whose rabid fans seem so insanely possessive that they’ve barely refrained from burning Wilde’s effigies to criticize their off-camera relationship. He is 10 years older than her! How dare you! All this nonsense aside, that’s it. Their Business, folks, take it easy: Stiles confidently carries himself like an enthusiastic young man and loving but increasingly conflicted husband, Jack Chambers.
The first part of the film, a steady stream of cocktails fueling a whirlwind of parties during which Jack and his wife Alice (Pew) can’t keep their hands off each other, is so sexy you might want to skip ahead to Mystery Victory. Design society and ignore the signs of evil behind all the smiling faces and perfect marriages.
When things get dark and strange, and Jack’s idealized world is threatened, that’s when questions about Stiles’ reach begin to arise. Is she just a magnetic screen presence that looks fabulous on a 50s strand, or an actress capable of depth and nuance? He plays the role well, but based on that, the jury is still out.
Although Wilde cites mind benders as the beginning, The matrix s romanian show For inspiration, only the latter comes to mind as you watch, with The Stepford Wives. But the film has a lot in common with the scathing social commentary of shows like Amazon. they Or movies like George Clooney suburbWhich shattered the fear and alienation of black trauma, but he couldn’t find anything to say about it.
instead of racism NovemberHenrique Honey We are concerned about the rigid enforcement of outdated gender roles: the 1950s patriarchal order that tries to convince women that housework and child rearing are the highest aspiration while keeping their husbands’ corporate jobs secrets. But there’s nothing complicated or subversive behind the facade of these sassy housewives and male-headed families.
It is certainly a spectacular installation. Ariana Phillips’ retro-chic wardrobe and Katie Byron’s mid-century modern scenes (a direct reference to Palm Springs, California) are a brilliant visual feast, even if there’s a touch of art direction excess to the style. Ryan. But the screenplay, a blacklisted title by brothers Kerry and Shane Van Dyke, was reworked by Kathy Silberman, one of Wilde’s screenwriters. smart booking – It does not lend itself to convincing revelations when utopia opens up.
A pristine suburban enclave runs along a gentle trail. Chambers and his neighbors, including glamorous cocktail queen Bunny (Wilde) and her salesman husband Dean (Nick Kroll), party together late into the night in their restricted enclave, and then the wives leave their husbands at exactly the same time. In the morning, when they depart in rainbow-colored convertibles to cross the desert to Vitória’s headquarters, where women are not allowed to enter. Child labor is a secret and why should women know? They have everything they want.
They clean the house and then get together to gossip, go to the cocktail cart, swim in the pool, or shop at Victor’s specialty stores, where everything is provided to them for free. In the midst of this, they attend dance classes taught by the icy Shelley (Gemma Chan), whose husband, Frankie (Pine), is the mastermind behind the victory. “Beauty is controlled,” says Shelley. “There is grace in symmetry.”
Then they go home to prepare dinner, greeting their husbands at the door with a drink in hand. If you’re like Alice and still an object of insatiable desire, your carefully prepared roast beef can be tossed to the floor while Jack eats something else entirely.
In a welcome meeting for Violet (Sidney Chandler) and Billy (Douglas Smith) and Billy’s (Douglas Smith) new pair of glasses, Frankie is a flexible evangelist who celebrates the rewards of a world remade “as it should be.” But the tear in the fabric of this carefully crafted reality becomes apparent when Margaret (Kiki Lane) begins to rage and her distraught husband Ted (Ariel Stachel) has to drag her home.
The scary Dr. Collins (Timothy Simons, who keeps their asses vet character), who has built community with Frank, assures guests that everything is fine. But disturbing insights into what caused Margaret’s breakdown lead Alice to start questioning Jack. What exactly is “progressive materials development” that he says is Victory’s core business? His sueño finds himself increasingly disturbed by Busby Berkeley-style dance parties with the wives, Margaret’s warnings that the place was built on lies and the sparkling echoes of Frank’s motivational conversations that continue to resound on a television set. somewhere.
When Alice witnesses a plane crash and is told she imagined it, she starts a confrontation with Frank. These scenes between Pugh’s frightened but persistent Alice and Pine’s elusive handler Frank, who seems both amused and more than a little enamored of her rebellion, create real sparks when she accuses him of controlling them. It’s fun to see Pine use his ridiculously good looks and easy charm.
Alice’s growing resistance to the iconic victory rules makes Jack’s life difficult, especially after Frank chooses her to take the company’s operations forward, culminating in the haunting chant, “Whose world is this?” ? Ours!” This is also the only scene where Stiles breaks free and begins a raucous dance routine on stage to celebrate his promotion. There’s an almost manic determination to his movements, as if Jack knows the world is closing in on the woman he he loves, but he is trying to avoid this catastrophe by force of will.
The inevitable big reveal that happens when Alice interrupts him is something of a romance, though it doesn’t really hold water like black mirror An episode that should have returned to the writers’ room for another season or two. It is also somewhat elemental that all this points to a sinister movement fighting the degradation of the fragile male sex and the advancement of women in search of professional fulfillment and financial independence, as the most basic feminist caricature of male oppression.
A tense final act follows the moves but fails to deliver where it matters, with a provocative payoff. Still, it’s fascinating to see Pug take on doctors deftly beaming him, or worse yet, nasty-looking men in red jumpsuits working to secure victory, ready to take down anyone who threatens to expose this sickening shard of the sky father. The danger Alice is running from is marred by the unflinching narrative, but to Pugh’s credit, we dread its entire fast-paced climax.
Part of that, too, is the fast motion of cinematographer Matthew Libatik’s sharp images and the added boost of John Powell’s big, powerful score. It’s always nice to see a budding director at the helm of a project of this magnitude with excellent resources and a top-notch cast. But do not worry dear It’s obvious even when it’s weird. How many times do we need the ironic use of the doo-wop classic “Sh-Boom (Life Could Be A Dream)” to convince us that this can be a nightmare?
Source: Hollywood Reporter
Emily Jhon is a product and service reviewer at Gossipify, known for her honest evaluations and thorough analysis. With a background in marketing and consumer research, she offers valuable insights to readers. She has been writing for Gossipify for several years and has a degree in Marketing and Consumer Research from the University of Oxford.
