The Glib Dystopianism of “Don’t Worry Darling”

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The Glib Dystopianism of “Don’t Worry Darling”
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“Harry Styles can carry a tune, halfway around the world,” Anthony Lane writes, “but give the bloke a line of dialogue and he’s utterly and helplessly adrift.”

Ahead of its release, Olivia Wilde’s “Don’t Worry Darling” has worked a multitude of observers into an enjoyable lather—not just online but also, more heatedly still, in the flesh. I am thinking of the fans who camped out at the Venice Film Festival before the movie’s red-carpet première, on September 5th.

King of the bees is Frank , Shelley’s husband, and the mastermind of the Victory Project. Pine is the best thing in the film, his natural bonhomie nicely oiled and seasoned with creepiness. If only Wilde had placed more trust in his confiding smile; instead, she saddles him with slab after slab of overloaded speech. “We men, we ask a lot,” Frank tells the assembled couples. “We ask for strength, food at home, a house cleaned, and discretion above all else.

The film, hewn from Joyce Carol Oates’s log-size bio-novel of the same name, clings only loosely to the chronology of Marilyn’s existence. Thus, we kick off in Los Angeles, in 1933, with a fatherless and frightened little girl, Norma Jeane Baker , and her scalding mother, Gladys , who drives her, after dark, toward a wildfire that everyone else is eager to flee. “This is a city of sand and nothing will endure,” Gladys says. Later, she tries to drown the child in a hot bath.

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