Don’t worry darling review: Harry Styles is independent in Olivia Wilde’s sci-fi thriller
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Send: Olivia Wilde. Starring: Florence Pugh, Harry Styles, Chris Pine, Olivia Wilde, Gemma Chan, KiKi Layne, Nick Kroll, Kate Berlant. 122 minutes
There has long been a sense of pessimism around Don’t worry dearwith Olivia Wilde’s sci-fi thriller generating massive amounts of negative buzz ahead of its release. Her co-star Florence Pugh appeared to have distanced herself from the project amid speculation that she and Wilde had a falling out. Shia LaBeouf disputed Wilde’s claims that he was fired from the production and released a video of the director that appeared to corroborate his story. The tabloids also raved about Wilde’s relationship with idol Harry Styles, who took over LaBeouf’s role. And that’s before we even get to “Spitgate” — or the viral, quickly-controversial video that appeared to show Styles spitting on friend Chris Pine at the Venice Film Festival earlier this month. Of course he didn’t – and both sides denied that such an event happened – but it wasn’t surprising that people believed he did, given the real drama surrounding the film.
Finally, Don’t worry dear It’s not the disaster that some people predicted – but it’s a messy, mixed affair that some have planned too much. Styles gives a surprisingly low-key performance as Jack. To be fair, he is playing a very boring character, a sort of Stepford man. Jack lives with his wife Alice (Pugh) in the 1950s in a wealthy and glittering community on the edge of the desert, working with many other men who look and act like him. The men are all employees of Project Victory, a shadowy scheme headed by Frank (Pine) who hopes to “change the world”. Frank is a rough-and-tumble guru with a wanderlust who demands complete obedience. Wilde plays Bunny, Alice’s cute neighbor and best friend.
While men take their uniforms to work, women stay at home. They mind the children (if they have them), do the cleaning and cooking, and take dance lessons. Everything in their client’s paradise feels synthetic. There is plenty of alcohol and sex but even this lacks heart. One scene sees Jack walking up to Alice after he comes home from work; It’s reminiscent of the famous steamy meeting between Jack Nicholson and Jessica Lange at the kitchen table Mail Always knocks twice. Here, though, the temperature barely rises. The methods lack charm. Wilde includes a scene in which his character dances on stage after winning an “Employee of the Month” award, but it’s much less arresting than Burlesque legend Dita Von Teese, who has a cameo featuring an extravagant slapstick performance. Jack is a one-dimensional figure, and the star of the direction fails to give him any hidden depth. Pugh is easily the film’s most visible and engaging personality. She plays Alice in such a hot way that most of the other characters seem robotic in comparison.
Screenplay by Katie Silberman (who wrote Wilde’s first feature film Textbooks) seems equally inspired Brave New World and Sylvia Plath’s Jarka’s bell. It’s got some exciting, compelling content and Wilde throws in some wonderful visuals, including a Busby Berkeley-like chorus and a dream sequence in which Alice suspects she’s really losing her mind as her friends believe. had.
Don’t worry dear It was beautifully shot by cinematographer Matthew Libatique (best known for his work on Darren Aronofsky’s films, including the current Venice director. the whale). It has impeccable production and design. Shining beneath her, her brilliantly beautiful surface, though, is as hollow as her pampered but empty-headed life. You can easily understand why Alice desperately needs to leave society – and perhaps why some cast members were worried about supporting the film itself.
Utopian, misogynistic, Crazy men– in the world that Silberman and Wilde put together, women’s roles are as wives and mothers. They don’t work. And if they express dissatisfaction with their lives, they are ostracized, treated as mentally unstable, pumped full of pills and given horrible treatment. They all live in a gilded cage, forbidden to express independent thoughts or even to venture too far from their front doors. Pugh’s Alice is too single-minded to endure all these challenges. When she thinks she sees a plane crash over the mountains, she takes off into the desert to help. This is when her problems begin. His friends opposed him. It is labeled as a problem solver that asks a lot of questions. But what begins as a dystopian psychological thriller quickly (and logically) becomes a Fast and Furious-movie style chasing his background. The story also has a very strange framing device, which may leave the audience scratching their heads.
‘Don’t Worry Darling’ is in cinemas from 23 September
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