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Opinion The Last Word

Traveling Miss America

There’s nothing more humbling than being an American in a country that is not America. This summer I traveled to London where I stayed for a month and then for 10 days after, I traveled to Switzerland, Milan, Paris, Amsterdam, Rome, Florence, and Venice. My travels lasted for about five weeks but gave me enough knowledge to last a lifetime. I first realized my Americanness when I was in London standing on the Tube — the subway equivalent for you American folk. Me and my friends were all laughing about something hilarious. Amidst the heavy laughter, I stopped and looked around. We were the loudest voices on the Tube. The babies around us had not even touched the sound decibels we had reached. Another incident like this was on July 4th. Of course, on this day, I was in London. Even though we talked loudly and there were about 30 of us in a pack, I thought my friends and I were good at flying under the radar. I put myself in the shoes of a local and thought, “Ah, yes, it’s just another normal day for us Londoners.” This ended rather quickly when someone on the street wished us a “Happy Independence Day.” Rats. I would never fit in here.

When venturing to Paris, I had a big ego. I have been taking French since middle school, almost 10 years now. I had always told my relatives that I was fluent in French and most certainly could hold any conversation. On our train ride from Amsterdam to Paris, I voiced in my head how to order different meals at restaurants. I even practiced scenarios where I negotiated prices at markets and shops. No matter how out of place I might look — I never went anywhere without my fanny pack — or feel, I would blend in easily. Only being in Paris for a day or two, there were slim opportunities to use my French. It’s like everybody knew we were Americans. It was like when you finally turn 21 and the bartender doesn’t even ask to see your ID. They always know. On our final day in Paris, me and my travel buddy set off to the train station. Our next destination was Zurich, Switzerland. In a final feeble attempt, I stopped at a nearby café. With rising fear and anxiety, I approached a sweaty and overwhelmed French man behind the bar. “Je voudrais un pain au chocolat et — ” cut off, in a thick French accent. “Please, order in English, it’s easier.” Ah! The utter shame. What a stupid American I am!

For the rest of the trip, I was even more aware of my American identity. On our train ride from Basel to Zurich, we sat across a Swiss man and a Parisienne man — this is not an assumption, but a fact gathered from extensive eavesdropping. After a full day of traveling and lugging two 40-pound suitcases upstairs, I was a little delusional and big-mouthed. My introductory question to the Parisienne man was, “Do people from Paris hate Americans?” The man laughed. The answer was obvious under his wide smile and averted eyes. In the corner of my eye, I saw a woman snickering at our conversation. Oh, I had forgotten that I was the loudest person on the train. After some moments, the Parisienne man looked at me and said, “I can’t speak for all French people, but I think you are okay.” Even though this was a basic and almost expected answer, it lifted my heart.

This whole trip, I had been gleefully assuming that I was a nuisance to the countries I was entering. I had been hyper aware of myself as an American and I didn’t like it. But it’s not about me, is it? I had entered these countries and aside from the customs officers, no one had invited me to enter these places. Entering these countries was a self-commitment to be present in different cultures and respectful of the spaces around me. The people on the Tube didn’t tell us to quiet down; they just put in their headphones and probably prayed for us to shut up. These men on the train had no concern about where we were from; instead, they met us with smiles and laughter. Considering the French man behind the counter, maybe my French pronunciation was just hard to understand, and he wasn’t in the mood to be patient. We are all different. Sometimes in more ways than not. What makes us different makes our conversations more interesting and the journey to understanding more fruitful. You’re not a dumb American. You’re someone on their journey to understanding. You’re working to understand the cultures and customs that are different from yours yet beautiful in their own ways. Maybe, a quiet Tube ride is what most people need in the mornings. Noted.

Izzy Wollfarth is a Rhodes College student and intern at Contemporary Media, Inc.

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Film Features Film/TV

Air

It’s newsworthy that Ben Affleck and Matt Damon are once again making movies together in 2023. The duo first burst onto the scene in 1998, when their script for Good Will Hunting won the Oscar for Best Original Screenplay, and also saw Robin Williams earn a Best Supporting Actor trophy. Fast-forward 25 years, and the duo is back with their new film, Air. Unlike Good Will Hunting’s coming-of-age plot, Air is a true story: the history of Nike footwear.

Air begins in 1984 when shoe companies Adidas, Nike, and Converse are battling for market share. The three firms are fighting, with varying levels of success, to catch famous athletes’ attention — especially in the NBA, where Michael Jordan is a rising star. Jordan has a clear interest in Adidas and a sponsorship from Converse; Nike, with its 17 percent market share, is an afterthought.

Basketball scout Sonny Vaccaro (Damon) sets out to make Nike a force to be reckoned with. Vaccaro goes way beyond his jurisdiction to create the Air Jordan, the now-legendary sneaker that catapulted Nike to the top table. Although Vaccaro’s risks lead to eventual success, many of the hurdles he encounters threaten the company’s stability and reputation. But in the end, Vaccaro created a new paradigm for celebrity endorsement.

Damon is only one of many familiar faces in Air, along with Chris Tucker, Jason Bateman, Marlon Wayans, and Viola Davis. As a director, Affleck uses each actor’s individual styles to evoke the very real people they’re portraying. One example is Viola Davis’ portrayal of Deloris Jordan, Michael Jordan’s mom. Making most of the decisions for him during that time, Michael Jordan’s parents were pivotal figures who negotiated contracts and dealt with the media. Davis’ firm motherly hand and emotional balance makes you believe Michael Jordan is her actual son. Similarly, Chris Tucker’s portrayal of Nike executive Howard White leverages Tucker’s comedic chops during tense scenarios, while also sincerely conveying the loyalty White had for Vaccaro and Nike.

From the start of the film, Affleck takes the viewer back to the ’80s, with clips of Mr. T and popular infomercials; ’80s hits like Cyndi Lauper’s “Time After Time” soundtrack long drives. Even Affleck’s camera shots look like they came from ’80s films, like the repeated extreme close-ups of Sonny’s face. The bright wardrobe colors worn by Damon made this Gen-Zer run to my grandfather’s closet to find his Members Only jacket.

There’s one thing about the cast list that stands out: Michael Jordan, the man himself, is not in the film. Really? You had a $60-$70 million dollar budget, and you don’t even have a cameo of Michael Jordan? But Air is all the better without him. We get to know Vaccaro as a risk-taking go-getter, although he makes everyone around him anxious. Other minor characters like Rob Strasser (Jason Bateman) are given opportunities to shine, especially through Strasser’s arc about his daughter and the risks he wasn’t able to take. Add in Michael Jordan and Air becomes all about him. The movie’s message about taking risks and the qualities that made it special would be overshadowed by the presence of the superstar.

The messages of this movie can be encompassed in one quote which keeps getting repeated: “A shoe is just a shoe until someone puts their foot in it.” This story was just an idea until Affleck and Damon got their hands on it — and made it something special.

Air
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A Good Person

Unlike many people of my generation, I am still dazzled by movies. I am in awe of actors’ and directors’ capacity to make fabricated moments between strangers seem so real. Good filmmakers know the ways to pull at people’s heartstrings, whether through loss, nostalgia, intense emotion, or serious monologues. While I stand by that statement, director Zach Braff somehow manages to create a story that includes death, addiction, mental illness, abuse, and Morgan Freeman, which is ultimately unable to produce any semblance of emotion. In fact, instead of leaving A Good Person with a newfound appreciation for life, I found myself wishing I’d left earlier. 

The film begins with a typical trope: A happy family is suddenly struck by tragedy, which divides them until they meet some quirky character who is able to lift them up again. A Good Person opens with a newly engaged couple, Allie (Florence Pugh) and Nathan (Chinaza Uche), whose happiness is quickly destroyed by the death of Nathan’s sister, Molly (Nichelle Hines), and her husband as a result of a car crash with Allie as the driver. After the accident, the camera focuses on Nathan, looking distraught as Allie, lying in a hospital bed, comes to and is confronted with the reality of her actions. Then we cut to Allie some years later, no longer engaged, living with her mother, and suffering from a prescription painkiller addiction. 

The problem with this opening is that we don’t know who these characters are, so we don’t care. In fact, we don’t even find out the name of Nathan’s sister until the final moments of the movie. It doesn’t help that there is zero romantic chemistry between Pugh and Uche, evidenced by the uncomfortably forced kiss they share. We can’t see what she has lost. Similarly, the relationship between Allie and her own mother, Diane (Molly Shannon), mimics an abusive neighbor who occasionally drops in, drinks, and yells at Allie.

Enter Morgan Freeman. 

Freeman takes on the role of Nathan’s dad, Daniel, and caregiver to Molly’s child, Ryan (Celeste O’Connor). Faced with previous problems with addiction as well as the loss of his daughter, Daniel reverts to alcoholism as a coping mechanism. To work through his problems, he begins to attend weekly AA meetings, where he sees Allie for the first time since the accident. Immediately and without explanation, Daniel forces himself to befriend Allie. As a result, Allie begins to confront the life she left behind and create a friendship with Ryan. From here, one would expect the movie to follow the typical ups and downs that come with narratives of addiction, broken families, and unlikely friendships. Instead, Braff decides to swerve off into irrelevant side plots, and we are left with entirely different conclusions.

Braff’s got a stable of good actors, a time-tested movie trope, and realistic issues that affect society, yet somehow nothing works. While some might blame the cast for the lack of emotional connection between characters and the audience, their efforts are wasted by the meandering screenplay. The addiction subplot romanticizes Allie’s struggles—the scenes where she relapses are framed with flashes of happy memories, bright lights, and dance music. Towards the end of the movie, Freeman’s character almost murders a 20-year-old boy in cold blood. Multiple scenes are accompanied by Florence Pugh singing. Why? I couldn’t tell you. The awkward dialogue at times seems improvised. I felt visceral cringe when characters uncomfortably talk over one another and ignore blatant social cues. By the end of the film, I wondered if the screenplay was a first draft. 

Maybe it was because I was just glad the movie was wrapping up, but I found the ending to be the best part. Mostly because one of Freeman’s strengths— god-like narration—was finally utilized. Better late than never, Freeman’s narration is meant to convey a sense of peace and closure. It gave me the strength to quickly scamper out of my seat and out the door. Thanks, Morgan Freeman, for at least doing your part.

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Film Features Film/TV

The Whale

The nominees for this year’s Best Actor Academy Awards include powerful performances, from Austin Butler in Elvis to Paul Mescal in Aftersun, but it’s going to be hard to outshine Brendan Fraser in The Whale. Offering a message that extends far beyond its two-hour screen time, The Whale interprets how society understands mental health and how we connect with others.

When we first meet Fraser as Charlie, he’s wheezing uncontrollably and clenching his chest in imminent fear of death. Shortly after this incident, Liz (Hong Chau), Charlie’s friend and occasional caregiver, diagnoses him with congenital heart failure. Charlie has been struggling with morbid obesity, but that’s hardly the only problem affecting his mental health. His partner, Alan, committed suicide, and his relationships with his ex-wife Mary (Samantha Morton) and daughter Ellie (Sadie Sink) are distant, at best. Overall, the prognosis for Charlie’s life is not good, especially since he refuses to go to the hospital or seek any outside help. Instead of saving his own life, Charlie uses all his energy to help others, despite what they think about him or themselves. By the end of the film, Charlie’s physical hindrances become the foundation for recognizing the inherent goodness of humans and the need for people to lean on others. 

I have to admit to not having seen many of Brendan Fraser’s films, beyond loving him as Elliot in Bedazzled (2000). Before watching The Whale, the biggest thought I had was, “Is Brendan Fraser going to prove that Oscar nomination right?” When starting the movie, I wasn’t immediately starstruck. Charlie, although representing realistic problems, was a relatively normal character. He was struggling, yet optimistic about life, and wasn’t afraid of death. Nice thoughts, but they could easily fall into cliche. But Fraser drew me in, and by the second half, I had so many tears in my eyes that my right contact lens fell out, and I had to pause to collect myself as the lights came up. That’s all a tribute to Fraser’s ability to transform this potentially flat character into a desperate man just trying to embrace damaged people with love. 

Fraser’s talent is evident in Charlie’s relationship with Ellie. She’s a fiery spirit, violently angry at the world and at Charlie, who abandoned her nine years prior. For her to even consider spending time with him, he has to pay her $120,000. In return, she feeds him sleeping pills and repeatedly calls him disgusting. Despite all this, Charlie keeps telling her she is amazing, perfect, and smart. The emotion between Charlie and Ellie is so real, and raw, and important in a tale about mental health. Their relationship shows how even the most damaged and wrongful people can come back from their mistakes and learn to love again. 

Appropriately for the story of a homebound person, The Whale is set in just one room of Charlie’s apartment, with staging that sometimes resembles a play rather than a movie. There is little to no music, which forces you to listen and pay attention to what each character has to say. Your sustained attention helps director Darren Aronofsky build complex characters such as Liz. She diagnoses Charlie with congenital heart failure, and then proceeds to feed him a jumbo sized bucket of Kentucky Fried Chicken. She is Charlie’s only true friend, but over time, she uses him as a crutch to evade her own suppressed trauma.  

Hidden from the spotlight for some time, Brendan Fraser has definitely come back strong. I will be rooting for him for Best Actor recognition, and continue rooting for him long after the award window closes. Overall, this film definitely gave me hope that the film industry is not saturated with remakes and Marvel movies, but instead yields movies that can deliver a good watch, a good cry, and a heightened perspective. 

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Film Features Film/TV

Puss In Boots: The Last Wish

DreamWorks has long been a force to be reckoned with in animation, with financially successful properties like Kung Fu Panda and Trolls. Shrek is DreamWorks’ most beloved franchise, and the company has been able to flawlessly continue the ogre’s legacy by creating spin-offs centered around his sidekick, Puss in Boots. Puss in Boots: The Last Wish has proven to be a sleeper hit, with $555 million in box office earnings and an Oscar nomination for Best Animated Film.

This story follows Puss in Boots (Antonio Banderas), who has lived many lives as a fearless hero and, being that he is a cat, has had a few lives to spare. Inevitably, he takes a stunt too far and finds himself left with only one remaining life. With death always on his tail, he can no longer be the fearless cat he once was. Instead, he must live the life he has always feared: that of a domestic cat.

Exchanging boots for kitty mittens and unlimited toilet privileges for a shared litter box, Puss prepares for a quiet retirement. Then he hears about the Wishing Star, a magical object hidden somewhere in the Forbidden Forest that will make dreams real. It is not long before Puss straps on his cape and rapier and quests for the star. During his journey, though, he encounters other iconic fairy-tale characters, such as Goldilocks (Florence Pugh) with her Three Bears (Olivia Colman, Ray Winstone, and Samson Kayo), Kitty Softpaws (Salma Hayek), and Jack Horner (John Mulaney), who are all out for the same prize. Diving back into his dangerous lifestyle, Puss has to team up and trust those around him to have any chance at another life. Jack simmers as the main antagonist, who is angry at the world for his lack of fame. Driven by this anger, he wants the Wishing Star to make him the most powerful and recognized creature in the world.

Even though Jack is evil, director Joel Crawford tunes the humor to make sure he’s not too scary. Many jokes throughout the film are geared toward adults, usually coming from Perrito (Harvey Guillén), whose dialogue is sometimes bleeped out for comedic effect.

Aside from the feelings this movie elicits, the screenplay is as entertaining and interesting as the characters themselves. The animation style has a hand-painted look, similar to some scenes from Spider-Man: Into the Spider-Verse. The noticeable brush strokes and swirling color make the film feel like watching a painting in progress. The landscapes are especially pleasing to the eye.

While I have praised Puss In Boots: The Last Wish heavily, I do have one worry. The film ends with an overt suggestion that the future may yield another Shrek movie. DreamWorks, so far, has done a phenomenal job at upholding the Shrek legacy, but with so many sequels and remakes saturating the film industry, I would hate to see another classic franchise driven into the ground. If Shrek 5 is your plan, DreamWorks, maybe slow your roll just a tad.

Puss in Boots: The Last Wish
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Opinion The Last Word

Mystical Steps

Step. Step. Pause. Breath. Step. Step. Sprint. While wearing only a thin tank top and shorts, I recently found myself running a three-mile race in nearly 30-degree weather. For fun. My lungs felt like a floating icebox in my chest. In my ears, I could only hear my heavy breaths reverberating from side to side. I remember looking straight ahead at the trees and dirt path in front of me, not really comprehending what I saw. My head and thoughts were frozen in time, although my legs were still moving forward. All my body knew in that moment was that I was running. Running seemed to have this power over my body: My brain no longer controlled my movements, and my legs took their own course.

Upon finishing the race, I felt like my legs simply said, “You can stop now,” so I stopped. I was suddenly thrown back into reality, one that escaped me for the past 22 minutes. I had blurry vision and a hazy understanding of what my body just went through. Tears fell from my eyes and my forehead was cold with dried sweat. A doctor might think I was going to pass out, but this feeling was something beyond medical explanation. I didn’t realize it at the time, but running had an almost mystical power over me.

I felt something I never thought I could feel. I steadily came to realize that running has some power over people. This is the power to rise above human limitations and defy the notion that we humans are flightless.

Our species tends to assume we are the strongest and smartest creatures in the room. While scientifically we are the most intellectual of creatures, the notion that we are the strongest is far-fetched. The truth is, humans are fragile, not only physically, but mentally. Physically, we have several limitations on our bodies. We couldn’t even lick our own elbows if we wanted to.

While being physically restricted, people are also mentally fragile and have complex emotions that are hard to fully understand. One feeling that incapacitates us is fear. It can paralyze us in a matter of seconds. Like that feeling when running, when feeling fear, the brain and the body separate. Running, however, offers a relief from that fear, a way that our body can rise above the things that hurt and hinder humans. Limitations are left behind, somewhere among the trees and that dirt path.

Running for pleasure is often misunderstood. I’m often asked, “Why do you run for fun? Are you crazy?” Having more than a few miles under my belt, I am acutely aware and have been on both sides of this question. The “fun” runner usually answers this with a mixture of modesty or the casual, “Well, good exercise, I guess.” Sure, running is a great exercise, but really, running is an escape. When you run, you might not realize it, but you are pushing yourself both mentally and physically. When I ran in high school, I would tell people that running was the hardest sport. There’s no real equipment involved and no teammate that you are face to face with. You are running against yourself. There are actually moments in running where reality’s problems become the driving force in your speed and your endurance. It’s a chance to escape.

Forces that once held you down and challenges that once seemed impossible simply disappear when you run. You can focus on where your legs are going and where they will take you. In this way, you are embodying what it means to take control and make your body move even when your brain might resist. This power, this conquering of limitation is attainable when you run. This is why running seems so crazy to people. When you run, you are attaining a seemingly impossible feat.

While not physically running all the time, I feel like I am constantly being outrun by the high standards and goals of perfection I set for myself. Trying to reach these standards is a constant race I may never finish. Somehow, I’m a minute too late, a few steps short, or too slow to start. The way I escape this is through the long stride, and the push I feel when I run. The feeling that my mind will finally release the white-knuckle grasp it has on me. Instead, the green grass and pavement cushion each heavy step. With each stride, my feet create a rhythm for my body to follow. With this rhythm, I feel strong, empowered, and secure in my own skin.

Izzy Wollfarth is a Rhodes College student and intern at Contemporary Media, Inc.

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Film Features Film/TV Film/TV/Etc. Blog

Indie Memphis 2022 Friday: Antenna

One of my first questions for director Chris McCoy after watching Antenna was what punk rock means to him today. To this, he responded, “I don’t know. What do you think punk rock means today?” Being born in the 2000s, I don’t think I have ever really listened to punk. Not being born in Memphis, I had never even heard of the legends from the Antenna club, until I watched McCoy’s documentary.  

The story of the Antenna is told through the many faces of punk rock, including writer and stealth narrator Ross Johnson, director Chris McCoy (who is also the film and TV editor for the Memphis Flyer), editor/producer Laura Jean Hocking, Antenna club owner Steve McGehee, and former Flyer music writer John Floyd. All together, this team took three years to create the documentary. Hocking details the beginning stages of the film where they started “with more than a hundred hours of archival footage. We had 1,100 still images and 88 interviews, some of which were three and four hours long.” Hocking describes her editing process as “a big project that at the time, when I was making it, I had a lot of nervous breakdowns.” 

The inspiration behind Antenna was McCoy’s desire to tell “a story about Memphis that needed to be told, that had not yet been told.” This was the story of the Antenna, a punk rock club that stood on Madison Avenue from 1981 to 1995, a forgotten era of Memphis music — specifically Memphis punk rock music. McCoy calls it a “weird mutant strain of music that grabs little bits from a whole bunch of different kinds of music.” 

Jimmy Barker at the first Antenna party, 1980. 

As such, the Antenna club was “a place where you could be weird,” Hocking says. The club was not your usual Beale Street bar but an eclectic refuge where outsiders, weirdos, gays, and anyone without prejudice could be their authentic selves. Especially in its early days, Antenna’s punk rock spirit made it a place for experimentation, dedicated to the fight against conformity. A specific example McCoy uses is “one of my favorite shots in the movie is the video we found of that dude heckling The Replacements, saying, ‘We don’t care how famous you are!’ That’s the essence of the entire club right there in one moment.” 

Between the crime, the poverty, and the political turmoil, Memphis can sometimes seem cursed and hopeless. This is even mentioned with Johnson’s opening line of the film: “Memphis is cursed.” McCoy comments on this idea saying, “I always call Memphis your drunk uncle. I can complain about him and what a deadbeat he is, but nobody else can say something about it.” This spirit is encapsulated in the Antenna’s story, in “the story of those musicians who are still here and who didn’t get the recognition that they deserved,” McCoy says. Indeed, the Antenna club hosted various artists like R.E.M., Big Ass Truck, The Panther Burns, and The Modifiers, but these are just some of the artists that defined the era of punk rock and the resistance against conformity. 

Outcasts like Milford Thompson, Melody Danielsen, Alex Chilton, and The Klitz were able to express their true selves to the world. When daytime talk show host Marge Thrasher told The Panther Burns they were “the worst thing that ever came out on television,” bandleader Tav Falco just smiled. The Modifiers took pride in being “the most hated band in Memphis.” They were simply just, being themselves, and any hate or fear simply fell at their feet as they performed. “The attitude was, we dare you to like this music,” says McCoy. 

Tav Falco and the Panther Burns on Marge Thrasher’s talk show. 

This film is truly a labor of love and takes the audience back to the time where music not only united a community but also created a place to escape from the prejudices of society. McCoy remembers “hanging out at the Antenna from ’89 to ’95, when it closed.” Watching the film, I understood what it might feel like to be transported back to the ’80s, with a front row seat at the Antenna. Hocking says this was intentional. “We wanted you to feel like you’re at the club or hanging out with these people or in a round table discussion with them.” 

Framing the film this way makes for a very intimate connection with something that to me, previously seemed foreign. Throughout the film, I found myself identifying with the Antenna crowd and their love for a place that shielded them from the rest of  society. Seeing the many faces of punk rock and former Antenna attendees profess their love for the Antenna club, made me wonder if there was anything similar to the Antenna club today. When the film ended, I felt like I had just been to my first and favorite rock concert in my life. 

Lisa Alridge singing with The Klitz.

Antenna speaks for itself with its continued and growing popularity even after its premiere 10 years ago in 2012 at the Indie Memphis Film Festival. The film has been awarded the Audience Award, Special Jury Prize, and other various awards at the Oxford Film Festival, and it is recognized as one of the most popular films in the 25 year history of the Indie Memphis Film Festival. Although the film has an immense love among its audience, it cannot currently be released commercially because of issues with obtaining music rights for the 50 different songs present in the film. McCoy and the film’s producers have spent the last 10 years trying to raise money to pay the artists for their songs and give them the recognition they deserve. Despite several investors’ and distributors’ interest in the film, fundraising efforts have always come to a halt and been unsuccessful. Thus, the film can only be caught at film festivals and on rare occasions. 

The next screening of this film will be on Friday, October 21st, 8:45 p.m., at Playhouse on the Square during the Indie Memphis Film Festival to celebrate the film’s 10-year anniversary. Tickets ($12/individual screening) can be purchased online or at the door if not sold out already.

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Don’t Worry Darling

The new film Don’t Worry Darling has been overshadowed by the off-screen drama between director Olivia Wilde and stars Florence Pugh, Harry Styles, Chris Pine, and fired star Shia LaBeouf. That’s a shame because the film’s message is applicable to contemporary feminism and society. There’s a lot more to it than just the controversy.

The story focuses on a young married couple, Jack (Harry Styles) and Alice (Florence Pugh), who are living a “perfect” life. Alice goes about her day preparing meals for her husband, having a drink ready for him when he arrives home, and satisfying his sexual needs. What Jack does when he’s not at home with Alice is the subject of some mystery. It all seems to be going swimmingly, until Alice starts asking questions: Where does he go every day? Why does she have to live subordinate to him? Why are they even there? But Alice’s questions are met with gaslighting. The men around her portray her as mentally unstable, even dangerous. When Alice’s friend Margaret (KiKi Layne) asks the same questions, she is driven to suicide and taken away from society. When Alice asks what happened, she is told not to worry, that Margaret and her husband were just having a little trouble. Alice’s curiosity about her world, that is both familiar and unsettling, will lead to shocking revelations and bloodshed.

The strength of Wilde’s direction lies in her world-building. She uses long shots of Alice and Jack’s cul-de-sac to express the habitual routines that define the societal structures that keep everyone in their place. She focuses on the details of cooking, cleaning, shopping, and ballet classes that frame Alice’s empty days. Wilde fills the film with symbols, characters, and dialogue which point to the men’s abuse of power.

Florence Pugh is the most engrossing aspect of Don’t Worry Darling. The brilliance of emotions she displays draws you deeper into this strange world. Whenever Alice felt pain, fear, or confusion, I found myself feeling the same emotions in the pit of my stomach. When Alice finally decides to act on her vague suspicions, Pugh walks us through her fear, despair, and resolve.

Another strong performance is by Chris Pine, who usually plays a clean-cut prince. He and Wilde play with your expectations, turning Pine’s character Frank into a dark, godlike figure who appears to hold the answers to the mysteries of this world. Wilde finds the hidden layers of Pine’s personality that were only glimpsed in his previous hero roles.

While Pugh and Pine are excellent, the oppressed housewife role is overplayed. What saves Don’t Worry Darling from a potentially dull plot line of suburban conformity and gender expectations is the shock ending. I won’t spoil it here, but when walking out of the theater, I found myself repeatedly saying, “Wow. Holy crap. Wow. That was —.”

The film’s biggest problem is the miscasting of Jack. Like any other Gen Zer, I have a special place in my heart for Harry Styles as a singer. But for a story so laden with meaning, casting a teenage heartthrob as the male lead turns out to be a very bad choice. Styles can sing, but he can’t act. Often, I found Styles’ facial expressions inappropriate for the emotions Jack should be experiencing. For example, when Alice says she wants to leave their life, she weeps into Jack’s arms and cradles his hands whilst tears stain her dress. Jack, two inches away from Alice’s blushed face, has not a single tear, semblance of emotion, or even eye contact with Alice. This happened many times in scenes where emotion was essential.

In the end, the positives outweigh the Harry Styles-shaped negatives. For me, Don’t Worry Darling is a must-watch for its powerful evocation of feminist values, and the lengths some men will go to in order to feel superior to the women in their lives. Wilde’s themes are best summed up by a minor character’s final words. As Shelley (Gemma Chan) uses a kitchen knife to take charge of her life, she hisses, “You stupid, stupid man.”

Don’t Worry Darling
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