W.E. (C or 2/4 stars)
Madonna's labor of love, 'W.E.', tells the tale of 2 fragile but determined women – Wally Winthrop (Abbie Cornish, of Bright Star) & the notorious Wallis Simpson (Andrea Riseborough). In 1998, lonely (and trapped in an abusive marriage) Manhattanite Wally Winthrop is obsessed with what she 'thinks' was the ultimate love story of the 20th century (btwn. King Edward VIII (James D'Arcy) & chic American divorcée Wallis Simpson - the woman he abdicated the throne of England for). But Wally's intense research - including visits to the Sotheby's much-anticipated auction of Wallis & Edward's Windsor Estate - reveals that the couple's life together was not as perfect as perceived. Jumping back & forth in time, this movie intertwines Wally's journey of self-discovery in Manhattan with the scattershot story of Wallis & Edward, from the glamorous early days of their fabled romance to the unraveling of their lives in the decades that followed.
In theory, I like how the filmmakers used the auction as a hinge btwn. the 2 narratives; blending the story of W & E with that of the unhappily married contemporary Manhattanite, Wally. Only in the execution does Madonna fail to ignite movie magic. Despite the romantic element of the source material, Madonna made a film more concerned with how everyone looked than how they really felt. That's not to say 'W.E.' doesn't have good stretches; most of them provided by newcomer Andrea Riseborough as the shrewd, resilient Wallis who slyly seduces & wins-over a king. It's many years later where she finds herself unprepared for the enormous social consequences. We know he gave up the crown (HUGE), but in doing so, she also had to be vilified by the entire world.
The story of W & E has captivated people for many years. It's the 1998 story (involving Abbie Cornish as Wally) which underwhelms. While Wally wastes her life daydreaming about W & E at the auction; marveling over the items of their lives together (plates, tablecloths, jewelry, photos, cigarette cases) ... she constantly wonders what it would be like to be part of that romance. The film's pacing is off, mostly because Wally doesn't do much except traipse around the auction floor looking tragic as she contemplates her miserable marriage. There's little else to her in this screenplay. Also, by flipping back & forth btwn. the 2 women's lives, we sense how their connection feels contrived. For the most part, their connection is a stretch (Wallis even visits Wally in her daydreams. I mean, come on).
Abbie Cornish is fine, here. It's just a stock role, unfortunately. Andrea Riseborough, though, makes the most of her moments. In one quietly riveting scene, a slip of her tongue reveals the true nature of the relationship btwn. she & Edward, and the shock & silence of those in the room is deafening. I wanted more from that Wallis point of view! Here was a woman with so-so looks, no class stature, yet won-over the King of England. Madonna tries to make her a sympathetic victim (when she's perceived to be evil). Wallis was interesting. Why couldn't the film have been ALL about her?
Visually, much attention is paid to artifacts, props, lavish rooms, STUNNING clothing, close-ups of cigarette smoke, etc.. But I missed the emotion in the story. I mean, hey. I understand that Wallis was a "material girl living in a material world" (pun intended). But in a film like this, we really needed more human emotion. Aggghhhh. I just think 'W.E.' was too much of a mixed bag. But then, even the good parts (musical score, Riseborough) weren't all that great. The result is a very personal film that Madonna made with loving care. For her, it's sincere, ambitious, but also underwhelming, restrained, & dramatically dreary -- a "so what" movie. Madonna found the script interesting. But she fails to convey that, cinematically. In other words, her subjects come across as banal.
In theory, I like how the filmmakers used the auction as a hinge btwn. the 2 narratives; blending the story of W & E with that of the unhappily married contemporary Manhattanite, Wally. Only in the execution does Madonna fail to ignite movie magic. Despite the romantic element of the source material, Madonna made a film more concerned with how everyone looked than how they really felt. That's not to say 'W.E.' doesn't have good stretches; most of them provided by newcomer Andrea Riseborough as the shrewd, resilient Wallis who slyly seduces & wins-over a king. It's many years later where she finds herself unprepared for the enormous social consequences. We know he gave up the crown (HUGE), but in doing so, she also had to be vilified by the entire world.
The story of W & E has captivated people for many years. It's the 1998 story (involving Abbie Cornish as Wally) which underwhelms. While Wally wastes her life daydreaming about W & E at the auction; marveling over the items of their lives together (plates, tablecloths, jewelry, photos, cigarette cases) ... she constantly wonders what it would be like to be part of that romance. The film's pacing is off, mostly because Wally doesn't do much except traipse around the auction floor looking tragic as she contemplates her miserable marriage. There's little else to her in this screenplay. Also, by flipping back & forth btwn. the 2 women's lives, we sense how their connection feels contrived. For the most part, their connection is a stretch (Wallis even visits Wally in her daydreams. I mean, come on).
Abbie Cornish is fine, here. It's just a stock role, unfortunately. Andrea Riseborough, though, makes the most of her moments. In one quietly riveting scene, a slip of her tongue reveals the true nature of the relationship btwn. she & Edward, and the shock & silence of those in the room is deafening. I wanted more from that Wallis point of view! Here was a woman with so-so looks, no class stature, yet won-over the King of England. Madonna tries to make her a sympathetic victim (when she's perceived to be evil). Wallis was interesting. Why couldn't the film have been ALL about her?
Visually, much attention is paid to artifacts, props, lavish rooms, STUNNING clothing, close-ups of cigarette smoke, etc.. But I missed the emotion in the story. I mean, hey. I understand that Wallis was a "material girl living in a material world" (pun intended). But in a film like this, we really needed more human emotion. Aggghhhh. I just think 'W.E.' was too much of a mixed bag. But then, even the good parts (musical score, Riseborough) weren't all that great. The result is a very personal film that Madonna made with loving care. For her, it's sincere, ambitious, but also underwhelming, restrained, & dramatically dreary -- a "so what" movie. Madonna found the script interesting. But she fails to convey that, cinematically. In other words, her subjects come across as banal.