Don't Worry Darling (2022)
Directed by Olivia Wilde
Alice and Jack are lucky to be living in the idealized community of Victory, the experimental company town housing the men who work for the top-secret Victory Project and their families. But when cracks in their idyllic life begin to appear, exposing flashes of something much more sinister lurking beneath the attractive façade, Alice can’t help questioning exactly what they’re doing in Victory, and why.
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43 films that influenced Don't Worry Darling
What critics say influenced Don't Worry Darling
Director Wilde has cited The Truman Show as one of her inspirations for this film, alongside The Matrix and Inception , and while those influences are undeniably present, the inevitable comparison highlights a huge failing of Don’t Worry Darling right out of the gate.
Olivia Wilde’s second film as director, a lushly photographed thriller echoing The Stepford Wives and The Truman Show, received more attention for its conflicts behind the scenes between cast members.
Don’t Worry Darling draws parallels to The Stepford Wives , The Truman Show , The Matrix , The Village , Inception , Antebellum , WandaVision , and virtually every episode of The Twilight Zone .
It’s Stepford Wives meet Black Mirror meets The Truman Show, as well as a bunch of other distopia-type films where nothing is ever what it seems.
From beginning to end, this entire film plays out like an extreme rip-off of both Get Out and The Truman Show .
Anyone who has seen The Truman Show will know that life this perfect and 50s-fied can’t be genuine.
People may think that the amalgamation of ideas and ripped-off concepts from films and their respective directors (primarily Bryan Forbes’ “The Stepford Wives,” which Jordan Peele borrowed elements of for his directorial debut, “Get Out”) might be the problem that breaks the entire film into multiple pieces.
If you’re looking for a clever, insightful, modern twist on The Stepford Wives (1975), you would be much better served by WandaVision (2021) or Get Out (2017) than Olivia Wilde’s beacon of mediocrity, Don’t Worry Darling.
Following up her 2019 directorial debut, Booksmart, with what ostensibly looks like a remake of The Stepford Wives (1975), would be a huge gamble, were Olivia Wilde not up to the challenge.
Ironically, that same year the Bryan Forbes (The Angry Silence) directed film, The Stepford Wives made its way into movie theaters.
Por um lado, é a reprodução de “The Stepford Wives” de Bryan Forbes (1975) mais uma vez, a reutilização do modelo de quotidiano americano dos anos 50, onde os conservadorismos patriarcais de mão dada com o capitalismo serviam como resposta agressiva aos movimentos sufragistas que por aí se manifestavam.
Director Wilde has cited The Truman Show as one of her inspirations for this film, alongside The Matrix and Inception , and while those influences are undeniably present, the inevitable comparison highlights a huge failing of Don’t Worry Darling right out of the gate.
Don’t Worry Darling draws parallels to The Stepford Wives , The Truman Show , The Matrix , The Village , Inception , Antebellum , WandaVision , and virtually every episode of The Twilight Zone .
She also wanted to add some “The Matrix,” “Repulsion,” “Mad Men,” “Perfect Blue,” and “Black Swan” elements.
Other films Wilde was open about citing as overt influences included The Truman Show , The Matrix and Inception .
In the months leading to the film’s release, Wilde has talked about everything from its influences (“The Truman Show,” “The Matrix,” “Inception” — stop!
It is derivative: taking a bunch of ideas from The Stepford Wives , The Matrix , The Truman Show , or Philip K. Dick doesn’t make a great film if you cannot handle them.
Don’t Worry Darling draws parallels to The Stepford Wives , The Truman Show , The Matrix , The Village , Inception , Antebellum , WandaVision , and virtually every episode of The Twilight Zone .
A friend of mine has compared it to M. Nigh Shyamalan’s “The Village,” and I don’t blame him.
En No te Preocupes, Cariño colisionan un paupérrimo guión de Katie Silberman, en base a una historia de Carey Van Dyke y Shane Van Dyke, con una dirección aceptable de parte de Olivia Wilde, que si bien le agrega tensión, vertiginosidad, suspenso y profundidad estética a una trama llena de puntos muertos y cabos sueltos, también arrastra malas decisiones y adolece de un final pobre, el cual intenta recuperar infructuosamente lo mejor de The Truman Show (1998), de Peter Weir, The Matrix (1999), de los hermanos Wachowski, e Inception (2010), de Christopher Nolan, pero termina copiando sin demasiado éxito ni disimulo a The Village (2004), de M. Night Shyamalan, y sobre todo The Stephford Wives (1975), la película de Bryan Forbes con guión de William Goldman basada en la novela de Ira Levin de principios de la década del setenta, que tuvo una pobre remake en 2004 dirigida por Frank Oz.
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People may think that the amalgamation of ideas and ripped-off concepts from films and their respective directors (primarily Bryan Forbes’ “The Stepford Wives,” which Jordan Peele borrowed elements of for his directorial debut, “Get Out”) might be the problem that breaks the entire film into multiple pieces.
There will be inevitable comparisons made to Jordan Peele’s Get Out , but there are also other titles that it pulls from.
There is a powerfully subversive tone at work in the film that is reminiscent of that of Jordan Peele’s Get Out (2017) and the message contained within is equally as damning of the place that our homogenized society tends to force those that don’t fit into the idealized construct of the “patriarchy” to exist in.
Drape some Get Out and Mad Men plot-points over the template of The Stepford Wives and you have Olivia Wilde’s latest, which is indicative of a serious sophomore slump following the exuberant and brilliant Booksmart from 2019.
If you’re looking for a clever, insightful, modern twist on The Stepford Wives (1975), you would be much better served by WandaVision (2021) or Get Out (2017) than Olivia Wilde’s beacon of mediocrity, Don’t Worry Darling.
But Wilde doesn’t bother trying to escalate a sense of unease, as the film is instantly blaring at viewers blatant signs of distress that are largely conspicuous for their indebtedness to Get Out .
Director Wilde has cited The Truman Show as one of her inspirations for this film, alongside The Matrix and Inception , and while those influences are undeniably present, the inevitable comparison highlights a huge failing of Don’t Worry Darling right out of the gate.
Don’t Worry Darling draws parallels to The Stepford Wives , The Truman Show , The Matrix , The Village , Inception , Antebellum , WandaVision , and virtually every episode of The Twilight Zone .
Other films Wilde was open about citing as overt influences included The Truman Show , The Matrix and Inception .
In the months leading to the film’s release, Wilde has talked about everything from its influences (“The Truman Show,” “The Matrix,” “Inception” — stop!
Senza emozioni e con tetra glacialità, Olivia Wilde ci trascina in un gioco ad incastri alla Inception ma prevedibile e scontato, retto solamente da qualche fugace visione onirica che mantiene attiva la curiosità quanto basta per spronarsi a reggere le (terribili) sequenze amorose tra Alice e Jack, due involucri senza anima né carattere guidati da una strabordante passione mai realmente giustificata.
En No te Preocupes, Cariño colisionan un paupérrimo guión de Katie Silberman, en base a una historia de Carey Van Dyke y Shane Van Dyke, con una dirección aceptable de parte de Olivia Wilde, que si bien le agrega tensión, vertiginosidad, suspenso y profundidad estética a una trama llena de puntos muertos y cabos sueltos, también arrastra malas decisiones y adolece de un final pobre, el cual intenta recuperar infructuosamente lo mejor de The Truman Show (1998), de Peter Weir, The Matrix (1999), de los hermanos Wachowski, e Inception (2010), de Christopher Nolan, pero termina copiando sin demasiado éxito ni disimulo a The Village (2004), de M. Night Shyamalan, y sobre todo The Stephford Wives (1975), la película de Bryan Forbes con guión de William Goldman basada en la novela de Ira Levin de principios de la década del setenta, que tuvo una pobre remake en 2004 dirigida por Frank Oz.
Numerous references to other films litter the second half of the movie, especially The Stepford Wives, 1984 and even Suspiria and Thelma And Louise, but with its 1950s paranoia, it’s most reminiscent of The Invasion Of The Body Snatchers.
For me, it is a combination of “The Village” and Cameron Crowe’s “Vanilla Sky” as the revelations characters make here are never the least bit surprising, and the line between what’s real and what is not is stunningly lackluster.
Are they touring Westworld or the alternate reality of “Vanilla Sky”?
É como em “Matrix“, “Vanilla Sky” ou mais recentemente em “WandaVision”: a perfeição excessiva desperta a desconfiança.
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Cinematographer Matthew Libatique (previously Oscar-nominated for Black Swan and A Star Is Born ) and production designer Katie Byron give the film’s world a high-gloss perfection — Wilde has cited high-society photographer Slim Aarons’ sleek images of midcentury Palm Springs as a visual reference for the film.
From Ellen Burstyn in Requiem for a Dream , to Natalie Portman in Black Swan , to Jennifer Lawrence in Mother! , cinematographer Matthew Libatique has a knack for filming women either losing their minds or living in a mad world.
She also wanted to add some “The Matrix,” “Repulsion,” “Mad Men,” “Perfect Blue,” and “Black Swan” elements.
If you like Matthew Libatique’s cinematography, watch Requiem for a Dream or his very similar Black Swan.
The film’s buildup of tension is excellent, and cinematography ( Black Swan ‘s Matthew Libatique), sound design ( Jason Bourne ‘s John Powell), and editing ( The Lost Daughter ‘s Affonso Gonçalves) go hand in hand to craft a truly gripping watch that will have you hooked from beginning to end, not only for the desire to understand its secrets but also for the sheer pleasure of being immersed in that world.
Mit ihrem Kameramann Matthew Libatique (der zuvor etwa die Aufnahmen zu "Black Swan" schuf) fängt sie das vermeintliche Fifties-Idyll mit blitzsauberen Häusern sowie die darin herrschenden Routinen und Rollen in clever gewählten Einstellungen ein.
His cutaways - flashes of blood droplets, the iris of an eye and the Busby Berkeley style dancers who morph into ghouls – are reminiscent of his work on "Requiem for a Dream.”
If you like Matthew Libatique’s cinematography, watch Requiem for a Dream or his very similar Black Swan.
From Ellen Burstyn in Requiem for a Dream , to Natalie Portman in Black Swan , to Jennifer Lawrence in Mother! , cinematographer Matthew Libatique has a knack for filming women either losing their minds or living in a mad world.
Lane cites Pleasantville and The Truman Show as examples of this kind of thing done right.
That’s the “allure” of a period in history that has been so dissected in film it has become a genre unto itself (often with sci-fi, “magical” elements like the ones in Pleasantville ).
Don’t Worry Darling turns out to be a pale imitation of Stepford Wives, The Truman Show and Pleasantville rolled into one.
There is the obvious messaging about sexual/gender politics at play, using the lens of bygone eras to show that what was once seen as pristine was in fact deeply rooted in ugliness, but this has been done before (and better) in other works like “The Stepford Wives” or even “Pleasantville.”
La pellicola strizza l’occhio alle atmosfere di “Pleasantville” opera del 1998, diretta da Gary Ross con Tobey Maguire, Reese Witherspoon, Marley Shelton, William H. Macy, Joan Allen e Jeff Daniels.
For half its runtime, I was convinced that it was going to follow the same direction of many other dystopian/sci-fi stories, some more successful than others, from crowdpleasers like The Island , The Hunger Games and the Divergent trilogy to recent releases like The Town of the Headcounts and even Spiderhead : in all of these movies, groups of people that have something in common eventually come to realise that they’re being controlled by an authority and eventually manage to escape the utopian world in which they’ve been confined.