8/27/2023 0 Comments Rebecca movieHammer just looks too candid and upfront. Hammer has seven times Olivier’s body mass, and he does not have his cold English abruptness or his suicidal misery. But in this film, the problem is Max – who is transformed into an obvious hunk. Lily James is the new Mrs de Winter and she has sweetness and charm resistant to condescension. Manderley itself has been Downtonised into a colossal stately home with an absurdly large staff. Trickery … Kristin Scott Thomas as Mrs Danvers and Lily James as Mrs De Winter. Rebecca 2.0 is sometimes quite enjoyable in all its silliness and campiness and brassiness, and in some ways, gets closer to the narrative shape of the original novel than the Hitchcock film, which rather truncated the third act. The terribly corny publicity stills and trailer released for this new film have caused it to be much mocked. I like to think that Pablo Larraín’s forthcoming film about Diana Spencer’s married life will be called Camilla. The second Mrs de Winter’s first name is famously unmentioned, obliterated by the sheer power of her predecessor. He takes her back to his lovely Cornish house, Manderley, where the poor young bride is bullied and gaslit by the sinister housekeeper Mrs Danvers, played by Judith Anderson, who herself toxically venerates Rebecca. On an opaque whim, he takes a liking to the pretty, timid little ladies’ companion that he meets in a hotel, unforgettably played by Joan Fontaine, and abruptly proposes: “I’m asking you to marry me, you little fool!” This is the new version of the classic 1938 Daphne du Maurier mystery thriller Rebecca, which had its first legendary film version from Alfred Hitchcock, with Laurence Olivier as the wealthy widowed Englishman Max de Winter – handsome, lonely, frigidly obsessed with the memory of his dead wife Rebecca and summering on the Cote d’Azur. But would he also really drive a gold-coloured Bentley that clashes with the tailoring? He even models it on the homeward journey. Surely an English gentleman of the inter-war years at leisure in the south of France would not wear the same suit two days in succession, the way Hammer controversially does here? Well, it’s a sartorial bêtise that gives all of us a second chance to swoon over Armie’s fabulous whistle. Perhaps this film is its sex tape.īut wait. This suit deserves its own trailer, its own agent, its own sex tape. At night, he must keep it in its own climate-controlled glass case, like Iron Man. Hammer fills out that suit as tightly as if both Vinkelvoss twins were in it at the same time. It’s a suit that would have intimidated George Melly. This is a suit permanently ready for its closeup. Hammer even at one stage accessorises it with the same colour tie. Armie Hammer’s three-piece is an outrageous showstopper that upstages everything and everyone in its bold shade of Colman’s-mustard-slash-baby-poo.
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