W.E. - Madonnas Regiearbeit floppt in Venedig!
Madonnas zweite Regiearbeit W.E., nach Filth and Wisdom hatte gestern seine Premiere bei den Filmfestspielen in Venedig, doch Madonna hatte sich diesen Auftakt sicher etwas positiver gewünscht. Die produzierenden Weinstein Brüder hatten sich sogar Oscarhoffnungen gemacht - immerhin bezieht sich die Geschichte des Films auf die Romanze zwischen den englischen König und einer bürgerlichen Amerikanerin - jenes Thema, das auch in einer Nebengeschichte des letzten Oscarsiegers The King's Speech tangiert wurde. Doch die ersten Kritiken sind alles andere als positiv. Hier erste Pressestimmen:

Movieline - GEMISCHT
A weirdly sympathetic portrait of Wallis Simpson, the woman for whom a king gave up his throne, W.E. is the story of a life told through stuff: Evening gloves, cocktail shakers, baubles from Cartier, little hats trimmed with netting. It’s as if Madonna went back in time and forgot to talk to actual people, to find out how they lived and what they thought — but she sure did a lot of shopping.

The Telegraph - GEMISCHT
It all looks good, or at least glossy, in the manner of high-end cosmetics commercials. Exotic locations (Portofino, Cap d’Antibes) are visited and luxury brand names (Moet, Cartier, Schiaparelli) tossed around. Wally pays repeatedly visits an auction of the Windsors’ possessions; W.E. often feels like an extended infomercial for Sotheby’s New York. Occasional flashes of wit intrude. “Your Majesty, you know your way to a woman’s heart,” Wallis says. “I wasn’t aiming that high,” he replies. But such moments are rare.

The Playlist - SEHR NEGATIV
All in all, we can only imagine that the Weinsteins bought the film sight unseen, or that they’re hoping to make a fast buck off the back of “The King’s Speech,” because despite a couple of solid performances, the film can’t be redeemed. We’ve never looked forward to Madonna going back on tour more, if only because it means that we’ll know, for certain, that she won’t be using that time to direct another movie.

The Hollywood Reporter - GEMISCHT
This feeling of inevitability, backed up by snippets of Wallis’ own letters registering feelings of being trapped, and her and Edward’s eventual sorry fate as “the world’s most celebrated parasites,” is the one aspect of the story that rings true on a human level and is appealing and almost touching for that. The rest, unfortunately, feels artificial, programmed, rote.

The Guardian - NEGATIV
For her big directoral flourish, Madonna has Wallis bound on stage to dance with a Masai tribesman while Pretty Vacant blares on the soundtrack. But why? What point is she making? That social-climbing Wallis-Simpson was the world’s first punk-rocker? That – see! – a genuine Nazi-sympathiser would never dream of dancing with an African? Who can say? My guess is that she could have had Wallis dressed as a clown, bungee jumping off the Eiffel Tower to the strains of The Birdy Song and it would have served her story just as well.


Quelle: indieWire

W.E. (2011)
Regie: Madonna
Kinostart: 22.06.2012
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