Florence Pugh, Harry Styles and Olivia Wilde: NPR

Florence Pugh, Harry Styles and Olivia Wilde: NPR

Florence Pugh plays Alice in do not worry my love.

Warner Bros. Entertainment

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Warner Bros. Entertainment

Florence Pugh plays Alice in do not worry my love.

Warner Bros. Entertainment

It wouldn’t take long to list the whole chain of events that would convince you that something was terribly wrong in your world. Let’s say a giant dog materializes in your living room. Crack an egg, which is filled with ketchup. Your husband fails to get home from a trip, but their suitcase is sitting on your doorstep. There is clearly something wrong. What may take longer is to discover what can explain these things and provide a satisfactory solution to a story about them. Where did the giant dog come from? What happened to the egg? Where on earth is your wife? The puzzle creation process consists of two steps: creating the question, then creating the answer.

new movie do not worry my love It is a drama and a thriller, but it is also a mystery. We meet Alice (Florence Beau), who lives in an idyllic mid-century-style neighborhood with her husband, Jack (Harry Styles). This planned community is under the control of Frank (Chris Pine), Jack’s boss, who runs the mysterious Victory Project, which employs all the local men while their wives keep the house. Alice begins to see clues that something has gone wrong.

Some appear in the trailer: a roar in the sky – perhaps as if there was something militaristic in the men’s work. Plane stumbles in the sky. The egg turns out to be nothing but an empty shell that crumbles in Alice’s hand. A woman standing on a roof in a nightgown. Alice finds herself smashed between the wall of her house and the window. She wraps a plastic wrap around her head. In the film, all of these visuals are very effective in creating two of the most important elements of a mystery and thriller novel: genuine curiosity and deep unease.

Finding danger in the compatibility of this imagined suburb of the 1950s and 1960s is not new. (The neighborhood immediately reminded me of Edward Scissorhands.) But director Olivia Wilde finds effective visual language, particularly in the parade of classic cars that make eerily simultaneous exits from the dead end of Alice and Jack every morning. And the use of period music, albeit sometimes oppressive, works in this context. She also got a solid performance from Pugh, who quickly became one of our most reliable movie actresses.

As Pugh’s Alice becomes more and more annoyed by her surroundings, the script calls on her to become more confrontational, and as the tension in her performance increases, so does this curiosity and this anxiety. The film holds this position for probably a long time, playing with its contrast between the ominous and the aesthetically beautiful, including the increasingly literal score (with the creepy, breathtaking “hahahaha” vocals). And then, finally, as it ought, to answer the question at its core, which is the “whodunit?” It lies at the heart of the Agatha Christie novel. Here, this question is just, “What’s going on?”

This is the place do not worry my love falter. There is an effort to make the answer to the mystery—which I won’t reveal, obviously—feeling timely, relevant and even daring. This answer is perfectly acceptable, if not Terribly Interesting, a solution to the perplexing situation that Alice was in. The problem is that the answer to the central question of the riddle does not fit well with the specific clues that need to be explained.

I can tell you that after watching the movie, I understood what the answer to Alice’s foundational dread was, but I still don’t know why the plane gets stuck in the sky. I still don’t quite know why, specifically, that woman is on the surface. Not sure why Alice is stuck between the wall and the window. to the degree of preparation do not worry my love is “something terribly wrong”, the movie will eventually tell you what’s wrong. What it doesn’t do is explain why this very wrong attitude caused this horribly wrong detail.

The mechanics of a good puzzle are usually such that the story builds tension, such as building an intricate lock on an ornate door. Each piece of new information creates another complexity within the locking mechanism. Then, at some point, you are given a key. You put the key into the lock and turn it on, and there’s a satisfying click as it unlocks and lets you in.

This structure is one of the reasons why people praise, for example, The Sixth Sense. When you really learn what you’re watching, the key fits perfectly into the lock. Or, to look at this from another angle entirely, think of the well-accepted comedy mystery Rian Johnson. Take out the knives. Once you’ve seen it a few times, lots and lots of little details that were part of the family’s story and twisted narrative are explained by everything you know by the time you’re finished.

The problem with do not worry my love is that it creates a nice lock and a key that is completely passable, but when you put the key in the lock, it doesn’t quite turn around. Don’t get that satisfying click. I had the pleasure of watching the making of the lock; There is still some stress relief in seeing the shape of the switch. But the interaction between them is not as smooth as it should be.

If the problem of disconnecting clues and a solution sounds familiar, it may be because it was the primary complaint of people who hated the (still controversial!) ending of the TV show. Lost. In the end, there was an answer to what was going on (they weren’t in purgatory, they weren’t dead all the time). But there was no correlation between the answer and the many delicious crumbs that were dropped over the course of the series.

For me – I think for some proportion of the rest Lost Audience – writers got away with more than they didn’t, because the series’ ending was emotionally correct and compelling, even if it wasn’t logically sound. As she wrote at the time: “The show died in the end as it lived: by offering effective character studies through obscure logistics.”

It was do not worry my love That way, emotionally and with a satisfying score for Alice as a character, it may be less important than the whole thing doesn’t make much sense if you sit with him for more than 60 seconds. But partly because the movie hoveres so long in that borderline space that’s fun and highly effective for building tension and vowels, it doesn’t have much time to spend with precision, which seems rushed and leaves the distinct impression of missing pieces that perhaps once provided more answers to specific questions about who does What, to whom, and why.

It’s a shame, because there are some really good shows here, including both Pugh and Pine (very believable as a dangerous boss), and there are some really scary shots that do very well. But while too much explanation can crack the mystery as easily as too little, this is a case that may have gone a long way to getting more clear information about how this neighborhood works.

#Florence #Pugh #Harry #Styles #Olivia #Wilde #NPR

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