Wednesday, May 23, 2012


Written by Madonna and Alek Keshishian.
Directed by Madonna.

You couldn’t run from those infamous reviews, so I never imagined I would enjoy and appreciate this film as much as I did. I confess the awareness of the spell so called Abbie Cornish, but it wasn’t even entirely that. It was pretty much the whole package. From the Costume Design, to the beautiful soundtrack, to the impeccable Andrea Riseborough, I have to confess that she, Madonna, had me. She was able to fool me, to put a fantasy spell on me, to take me away to someplace else for two hours.
I’m very passionate about films, I don’t know if I’ve mention this before. I’ll obviously see it again right away (which I already did by now) to find a stable state of consciousness. But I don’t need that really. There’s something about the story telling that leads you to feel there’s something vacant. Wally is a character where motivations are hard to follow, yes there’s something to do with family but maybe there isn’t just a reason. There’s the historic side by which I can’t argue because I ignore it. I think the weakness is really Madonna’s vision at times, like towards the end, because maybe it is too present. But when the author’s point of view became a bad thing? Why would it be? This time, it feels so. But, am I just trying to find excuses? Am I looking for them, somehow forcing them? Because even the whole story I found myself digging and appreciating. Even in the way Madonna used these two characters and interacted with them, in this narrative line cut between Wallis Simpson and Wally from New York City. I was so emerged with these characters. So for brief moments I don’t understand it. Is it possible that everyone seemed to have done a wonderful job except for Madonna’s direction and co-written script?

We have the great and imaginative work of editing, both image and sound, the cinematography that creates these two worlds with this light and floating connection. The crucial and breathtaking soundtrack that in every way brought the film to this unique melancholy journey of damaged and connected souls, the outstanding costume design that blows one’s mind over, putting the characters in this perfectionist pose and own intellect.  Oh the clothes, I was in awe with those clothes and Abbie Cornish in those clothes. There’s the obvious need to stand out the bravery of Abbie Cornish and the equally brave Andrea Riseborough. The entire cast was great, maybe except King Bernie and his wife (played by Laurence Fox and Natalie Dormer) because it’s always hard to follow one Colin Firth and one Helena Bonham Carter. I think that, again, Abbie took yet another role into a subtle ground of concentration. She was representing a certain class from American society and not for one second she derived herself from that state and yet with a beautiful and believable subtlety.

So is it possible? At this point, what do I know? Yes, I still feel confusing because every review I read is, well, negative. But I believe this was a very thoughtful film. It contains a clear position. It was Madonna’s vision all the way through. I dare to say she was a perfectionist. 
W.E can’t be no one else’s masterpiece but Madonna’s, but it is her masterpiece.

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