W.E. is a film about the relationship between Wallis Simpson and Edward VIII, who famously abdicated from the throne of England so that he could marry her. Directed and co-written by Madonna this film is part period drama set in the 1930s and part modern day fable, following Wally Winthrop, a woman in 1998 New York who is obsessed with Wallis. Wally explores her namesake's story through the objects up for sale in the Sotheby's auction of the contents of the Duke and Duchess's home on the Bois de Bologne, purchased by Mohamed Al Fayed in 1986 after the Duchess died.
I must confess I was a little circumspect about seeing this film, Madonna not being known for her talents in feature film directing. However, low expectations aside, I genuinely enjoyed watching this and certainly found it more moving than the disappointing spectacle that was War Horse last week. W.E. has disappointed many critics who were hoping for a more thorough review of Wallis's every political move, and a raking-over of her and the Prince's involvement with the Nazi party. However, as evidenced by the corresponding modern-day story, this is a film about relationships first and foremost, and it examines Wallis's intentions towards the Prince and their ensuing relationship and marriage, which is more than enough to make this film interesting, without completely ignoring the darker background to their courtship. The 1998 thread is surprisingly compelling too, despite being more of a conventional romantic drama. Wally (Abbie Cornish) gave up her career to marry a man who has begun to resent and belittle her and after haunting the auction house she begins a fledgling romance with a Russian security guard. It's a little contrived but very sweet and in parts surprisingly hard-hitting, as are the early scenes of Wallis's unhappy first marriage.
The film starts unpromisingly, presenting both women as glossy socialites: shallow, materialistic and unsympathetic. The opening 10 minutes are full of MTV-style shots of skinny women in designer fashion, dripping with jewels. It looks more like a Vogue fashion-shoot than a film. However as we settle into the story the camerawork becomes more stable and both stories begin to grab you. The casting of Andrea Riseborough as Wallis is perfect. She's such a brilliant character actor and is instantly recognisable as the stately American, whippet-thin with bright-red mouth in stark contrast to alabaster skin and flawlessly coiffed jet black hair. Her stance, accent, even the way she laughs, reflects the photos of Mrs Simpson from the period. You empathise with Wallis but she doesn't make her too sympathetic; she's always a little too poised, too calculated. Predictably the costumes are gorgeous and I coveted nearly every outfit Wallis wears in this film, particularly the stripy panelled dress in the dog-walking scene, yum. Her costume is also used to clever effect - in one scene, after being outed by the papers as having an affair with Davis - she strides down the street in a black headpiece reminiscent of a satyr's horns. The only let-down is the scene where she is aged up to represent Wallis in 1976, where, frankly, she mostly resembles Mom from Futurama.
Abbie Cornish does sturdy work as Wally, and the rest of the ensemble are well-cast: tasty James D'arcy as the besotted prince, Laurence Fox and Natalie Dormer presenting a younger glossier version of Bertie and Elizabeth than those presented in The King's Speech, and the usually lovely Richard Coyle playing against type as Wally's despicable husband William. Oscar Isaac also gives good smoulder as Wally's saviour Evgeni (also delightful in a faintly ridiculous but very funny scene where he seduces Wally amidst the Windsors' furniture at Sothebys whilst dressed in a busby and Scottish kilt).
Essentially it's a mistake to head for this film expecting a detailed biographical drama; enjoy the film for what it is, a classily shot romantic drama with a good helping of history to give the story emotional heft. Then read a decent biography to fill in the blanks.


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