We Were Right To Be Worried, Darling
My love for a certain British pop star was not enough. This drama-filled psycho-thriller aimed for the moon and landed on planet Flop.
Set in a picturesque 1950s American suburbia, Don't Worry Darling immediately strikes you with limitless beauty. The men and women wear perfectly tailored clothes, the days are always sunny, and mysteriously, no one seems to have pit stains in the somewhat deserted town of Victory. Every frame is carefully curated, showcasing the opulence and beauty that characterizes the era. One cannot help but feel overwhelmed by the perfected shots and design of it all; however, the aesthetic element appears to have been a huge distraction from the narrative development of the film.
The cast and talent involved in this film are totally “hype-worthy.” Don't Worry Darling features Hollywood star Florence Pugh as the lead alongside renowned names like Chris Pine, Nick Kroll, and Gemma Chan. Olivia Wilde made some questionable casting choices, participating in her own film and casting global superstar Harry Styles (a novice in film, a veteran in music), but these were the least of our worries.
In the first part of the film, we meet Alice (Florence Pugh), who seems to be happily content in her ordinary, repetitive life as a housewife married to Jack Chambers (Harry Styles). There is no denying that the film has amazing cinematography, costume, and set design. However, it almost feels comical when it attempts to deflect its own predictability and fails. From the moment we enter Victory, the film focuses on a loop of the perfect day, but quickly, the cutting and reusing of elements that once appeared thrilling to the eye become dull. Just like that, the film loses its best feature.
Why are these wives not allowed to know where their husbands work? Why is Alice seeing these creepy ballet dancers? Who are the men in the red suits, and what do they want? And more importantly, why does Jack (Harry Styles) have a seven-minute-long tap solo in the midst of everything? You're soon back in high school, and in mean girl fashion, it is almost as if Olivia Wilde thought we weren't cool or clever enough to deserve any context. She underestimates the audience and their wit, trying to save this film by making it ambiguous. But is it ambiguous or just poorly made?
Its ambiguity is merely the constant avoidance of its original storyline. The film attempts to battle ideas of masculinity and push narratives of feminism and societal change. Wilde said she hoped to make Don't Worry Darling "The Feminist Mystique on acid." For two hours, I waited for these promises to be fulfilled. Regrettably, the film fails to explore these concepts at all. If anything, the over-sexualization of characters is doing the complete opposite. With several unnecessary sex scenes scattered throughout the film and their use in its marketing, we are left confused. What is this film even about?
The characters and their motivations often remain unclear. Each character appears to have big intriguing backgrounds, yet none of them are explored after the first forty-five minutes. In fact, characters who appear to be significant pieces of this puzzle vanish, and one can only assume this is due to poor editing and execution. Olivia Wilde has previously shown her ability with her successful directorial debut, Booksmart, a remarkable teen comedy. Her debut was called "a wonderful addition to the coming-of-age genre," successfully exploring nuanced themes of sexuality and identity.
However, there may have been better choices than switching genres. While Florence Pugh's talent is undeniable, nothing could salvage a script that comes across as a rip-off of The Truman Show or The Stepford Wives. Harry Styles contributes to the film's failure to fill big shoes, as his character seems less like a starring role and more like an afterthought. Once again, his casting feels more like a tactic and ploy to lure in his following and salvage a mediocre film.
The film gains momentum in its second half, but all of it is absolute wasted potential. Is it a psychological thriller? While we are, unfortunately, psychologically impacted, the film's inability to define its genre loses itself in its own obscurity. The film, which at times can be comedic, is better categorized as satire or a comedy. At times, the film showcased some of the epic qualities of Don't Look Up, with how chaotic and messy its film structure is. As a director, Wilde fails, attempting to create a complex film without much effort to delve into its nuances.
Don't Worry Darling made us worry—a lot. However, if you detach any expectations, knowledge of film, past experiences, the psych-thriller genre, maybe do some shrooms, and have three to four drinks, this movie is totally worth the hype.
