Sneha Jaiswal's Blog, page 107
April 13, 2024
The Tearsmith – Needlessly Emo, Brace for Rueful Tears
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Director: Alessandro Genovesi
Writers: Erin Doom, Eleonora Fiorini, Alessandro Genovesi
The trailer for the 2024 Neflix movie “The Tearsmith” (Original title: Fabbricante di lacrime) promises a steamy fantasy ‘forbidden’ romance between two unrelated orphan teenagers, but the end product doesn’t match up to the ad. Despite repeated mentions of fairy-tales and wolves, there’s no fantasy element in the film, it unfolds like “Twilight” fan-fiction minus the vampires and werewolves.
The plot follows Nica Dove (Caterina Ferioli), who is raised in an orphanage all the kids call the “grave”, and all she hopes for is to be adopted by a nice family. And when that day comes, she is adopted along-with Lionel (Alessandro Bedetti), the only person she doesn’t get along with at the orphanage. Some kids call him the “tearsmith”, a legend whose details are best left out, because you’ll hear about it enough in the film if you decide to give it a shot. Nica thinks Lionel is “very mysterious” bad boy, which is very strange, because the two literally grew up in the same orphanage, where everybody shares everything with each other. A ‘forbidden’ romance brews between the two, because they are supposed to be siblings in their new family setting, but are attracted to each other. Thrown in a romantic rival, some friends with their own personal troubles, and a very random climax which looks like it belong to a completely different movie, and you have “The Tearsmith”.
The dialogues in the film become gratingly cliched, outdated within 20 minutes of runtime, Nica talks like she is the heroine of a Victorian gothic novel in love with a fallen knight who might be a vampire. Just slight tweaks in the pompously pretentious inner-monologues of the principal protagonists’ and their exchanges, “The Tearsmith” could’ve been entertaining.
It feels a little unfair to write about the cast’s performance, they all deliver the one-dimensional roles like the script expects them to. The climax has very little to do with Nica and Lionel’s romance and the attention shifts towards the orphanage they grew up in and how children were raised in an abusive environment. The focus abruptly shifts from “forbidden romance” in the final minutes, a departure that feels disjointed given the lack of compelling buildup in the preceding events.
You should probably just skip this one. However, if you have a soft spot for the “bad boy” trope and liked “After We Collided” or “Through My Window”, you might like “The Tearsmith” too.
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April 12, 2024
Parliament of Rooks Issues #1 & #2 Review
Sneha Jaiswal (Twitter | Instagram)
It’s difficult to form an opinion about the comic book series “Parliament of Rooks” by Abigail Jill Harding from its first issue alone because it’s hard to say where the story is headed. So, I decided to read the next issue too and review them together.
The inaugural instalment introduces a somber narrative with a dark winged specter visiting an elderly woman on her deathbed, hinting at a romantic history between them. Flashbacks unveil the central character to be Darius Ravenscar, an architect tasked by the Princess of Eborvik with designing a library and garden. Their burgeoning but forbidden affection draws ire from the King, setting the stage for familial discord. One day, Darius is fatally attacked by unknown assailant, and in a macabre twist, instead of dying, he transforms into a grotesque creature. Even though Darius is able to retain his human form temporarily, he is left pondering whether he has fallen victim to a malevolent curse.
The artwork, predominantly black-and-white with sporadic bursts of red, especially during moments of bloodshed, amplifies the visual impact of the violent sequences. While the illustrations vary from elaborate fantasy-esque sketches to rough drafts, certain panels shine brilliantly within the comic. Ravens, which are considered ill omens, are generously drawn through the pages, first they are simply shown to be stalking Darius and later, a more special albeit sinister relationship is established between the ravens and the principal protagonist.
While the initial issue suggested a gothic vampire narrative, the second issue unveils a more intricate plot. The melding of storytelling and artwork reminded me of Neil Gaiman’s “Sandman,” as dreams and nightmares weave seamlessly into the fabric of the tale. Darius Ravenscar’s existential quandary remains unresolved, yet based solely on these two issues, “Parliament of Rooks” emerges as a gothic horror saga of star-crossed lovers—the princess and the cursed architect—whose destinies appear preordained.
I love the artwork in the series so far and will definitely read the rest of the issues to find out what happens.
Rating: 3.5 on 5 star. “Parliament of Rooks” is also on Kindle Unlimited.
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Amar Singh Chamkila Review – Blazing Musical Ode
Sneha Jaiswal (Twitter | Instagram)
In a small village in Punjab, a young boy grows up watching adults around him sneaking, gallivanting, and engaging in lewd acts of pleasure when they think nobody is watching. As an adult, the boy pours his experiences into saucy songs and ditties, which capture the imagination of multiple generations, propelling him into musical stardom, while also inviting scathing backlash. Directed by Imtiaz Ali, the 2024 film “Amar Singh Chamkila” is a fiery musical ode to that little boy with big dreams and stars Diljit Dosanjh in the titular role.
The film opens with a vibrant scene of a small stage surrounded by a packed crowd, all waiting to watch Amar Singh Chamkila and his wife Amarjot Kaur (Parineeti Chopra) perform some of their hit songs. The year is 1988, when Chamkila and his wife were shot dead by unknown assailants. Imtiaz Ali and team immediately pull in the viewers into a tragic, tense setting, before rewinding to show what led to the shocking turn of events. But “Amar Singh Chamkila” isn’t an attempt at unravelling a tragedy or the whys, instead, it’s a spirited celebration of a singer who rose from literal rags to riches and chose to perform his art until his last breath.
Diljit Dosanjh and the music composed by A.R Rahman for this film are the absolute stars of “Amar Singh Chamkila”. From original songs by Amar Singh Chamkila, which are vibrant and folksy in tunes, to fresh lively compositions by Rahman, the movie is laden with tracks you wouldn’t want to skip. The lyrics of most these songs are central to the story, which attract both love and hate for the singer. Sample these lyrics from one of the tamer songs – “There’s no need to be shy anymore. You can drink me up. My youth is out of control. Lick me, scoop me up and lick me, darling I am your sugar.”
One of the central themes explored in “Amar Singh Chamkila” is the delicate balancing act an artist must perform between satisfying their fanbase and fending off detractors. While Chamkila’s albums fly off the shelves, he also faces death threats from radical groups due to his provocative lyrics. Diljit Dosanjh subtly portrays dual shades of his persona, transitioning from a confident singer on stage to a vexed family man who struggles to navigate the mixed reactions to his music. Anjum Batra is riotously entertaining as Kesar Singh Tikki, who helps Chamkila get inducted into the musical circles of Punjab and played the dholak with him for years.
I was slightly apprehensive about how Parineeti Chopra would fit into the film as Chamkila’s singing partner Amarjot Kaur, especially since she doesn’t make her first appearance till at least thirty minutes of the movie are over, all over which solidly entertaining. However, Parineeti quietly complements Diljieet’s Chamkila, blending in believably as a small-town-belle who loves to sing. In second half of “Amar Singh Chamkila”, Parineeti looks disinterested in most scenes, and while it was jarring at first, it’s actually in sync with the character’s state of mind – Amarjot can’t handle the criticism of their music as well as Chamkila and the couple also face other personal problems.
Besides the captivating music, the cinematography in “Amar Singh Chamkila” proves to be a visual treat. It’s not just the vibrant colors of Punjab’s musical culture that engage with the audience, but also Imtiaz Ali and his team’s innovative use of various media to enhance storytelling. Playful animations enliven several scenes, particularly those challenging to film conventionally. For instance, one scene depicts Chamkila and his wife performing in a bustling neighborhood, where a terrace collapses under the weight of enthusiastic fans—an event creatively animated for visual impact. Moreover, Imtiaz Ali frequently juxtaposes Chamkila’s scenes or albums with real-life photographs, infusing the narrative with authenticity and paying homage to the original artist.
The generous 2h 25m runtime might prove to be a challenge for some viewers, however, Imtiaz Ali and co-write Sajid Ali spin a watch-worthy tale which is filled with little twists and excellent songs that will keep you invested in “Amar Singh Chamkila” until the end.
You can stream the film on Netflix.
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April 11, 2024
A Shining Beacon – Graphic Novel Review
Sneha Jaiswal (Twitter | Instagram)
“In honor of your talents, we’d like to give you a carte blanche! Complete control. Bear in mind, it will be a national icon, extolling our virtues. Anything is acceptable. Except of course, anything unacceptable.”
If you are a fan of art, grim dystopian fiction and paradoxes, “A Shining Beacon” by James Albon could be just the right pick for your reading time. The graphic novel follows Francesca Saxon, an artist who lives an idyllic, quiet, almost anonymous life in a sleepy seaside town with her husband, until the government summons her to the capital, commissioning a mural for an upcoming state-of-the-art sports facility, which is supposed to be ‘a shining beacon’ for the nation. And even though Francesca is given a free hand with what she wants to paint, a censorship committee keeps rejecting her ideas, extending her short stay into a nightmare of sorts. From a celebrated artist, to a suspected terrorist, Francesca has a roller-coaster ride in the city which ends in inevitable tragedy.
James Albon’s artwork in “A Shining Beacon” is a misty mix of modern strokes, that’s combined with the post-impressionist style of Van Gogh, with a lot of blues and yellows dominating the color palette. Albon used a similar style in “The Delicacy”, a gripping graphic novel about two siblings’ journey into the chaotic world of fine-dining. Both his storytelling and art-style has improved over time, as I failed to enjoy his messy brushstrokes in “Her Bark & Her Bite”, which came out before these other works, even though the colors are quite similar. But of-course, art is highly subjective, so other readers may not perceive his illustrations they same way.
In a clever ploy, James Albon doesn’t name the country “A Shining Beacon” is set in, the place is simply referred to as ‘nation’ or ‘country’ throughout the novel. So the story serves as a generic yet interesting critique of totalitarian regimes and censorship, all seen through the eyes of a young artist. Francesca is hired by the government only after a thorough background check reveals she has no political record and is most likely the kind who would quietly toe their party line. The artist, on her part, is quite taken in by the luxurious stay given to her in the city during her work, but soon, the oppressive nature of the regime begins to stifle even the malleable Francesca.
Francesca’s hunt for a visual image that would prove to be ‘a shining beacon’ becomes an absurd trial, and her struggle is both representative of an artist’s ordeal to find ‘the right piece’ and the existential dread of a functionary trapped by an impossible duty to a despotic state. The climax of this graphic novel is quite unexpected, and James Albon delivers an artistic narrative that blends the political satire of George Orwell with the absurdist agony of Kafka and Camus.
Rating: 4 on 5. “A Shining Beacon” is also on Kindle Unlimited.
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How to Date Billy Walsh Review – Tosh in Pretty Wrapping
Sneha Jaiswal (Twitter | Instagram)
“How to Date Billy Walsh” has so many things going in its favor – it’s got a fantastic cast, visually engaging cinematography, groovy background tracks that make everything seem more fun – and yet, the plot is as cliched, outdated and predictable as it can be. “If this is going to end in the way all these teen movies end, I am not going to give this more than a 3 on 5 stars, let’s see!” I thought to myself after the first half-hour of the film, which was really entertaining and made me push my hopes up for a unconventional ending. But nope, those hopes were destroyed. It’s a Gen Z looking movie, but despite the use of technology and viral memes, it ultimately fits a very Gen X format and sentiment.
Directed by Alex Pillai, who’s worked on hit titles like “Bridgerton”, “Pretty Little Liars”, and “Riverdale” (among others), “How to Date Billy Walsh” is a high school romantic comedy written by Alexander J. Farrell and Greer Ellison. The story follows BFFs Archibald Arnold (Sebastian Croft) and Amelia Brown (Charithra Chandran), who’ve been friends since they were toddlers, and just when Archie finally picks up the courage to confess his love to Amelia, she falls head over heels in lust with the new hottie on campus – Billy Walsh (Tanner Buchanan). Archie reluctantly agrees to help Amelia win over her crush, but things don’t turn out quite as he intends.
Sebastian Croft, who played young Ned Stark in “Game of Thrones” and Ben in “Heartstopper”, narrates “How to Date Billy Walsh” from Archie’s point-of-view. Charithra Chandran is endearingly charming as his best-friend Amelia, she is awkward, cute and hilariously captures the butterflies teenagers get when they spot their crush on campus. It’s idiotic how clueless Amelia is about Archie’s feelings, but in a small, surprising twist – she does directly ask him if he loves her, and Archie unfortunately lets the opportunity slide by. Tanner Buchanan is introduced as the stock “bad boy on a motorbike” in his first scene as Billy Walsh, but as the plot progresses, viewers learn how he isn’t your typical ego-centrist jock who goes for the prettiest cheerleader.
Kunal Nayyar plays Amelia’s eccentric widower dad Rupert Brown, while Tim Downie and Lucy Punch play Archie’s parents George and Lilly Arnold. The parents merely serve as comic relief, and the Arnolds help push a primary subplot in the tale – they claim a secret ingredient helped save their marriage, and Amelia asks Archie to help find out their secret so she can use it to win over Billy Walsh.
There’s the the usual bullying, some mild comedy, a generic twist about one friend betraying the other, and finally a grand apology that fixes everything like magic. Only 1 hour 38 minutes long, “How to Date Billy Walsh” is thoroughly enjoyable in the first hour, but gets almost un-watchable in the last thirty minutes. The writers had two perfect opportunities to wrap up this story with an atypical climax, but instead they drag their characters through some unnecessary mess and give viewers a disappointing ending.
Rating: 4 on 10. You can watch “How to Date Billy Walsh” on Prime Video.
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April 10, 2024
Courtney Crumrin and The Night Things Review
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“Courtney Crumrin and The Night Things” by Ted Naifeh, Warren Wucinich (Colorist) is a little like ‘Roald Dahl’s Matilda meets ‘Earwig and the Witch’ but with a gothic dark twist. I read the four-issues-in-one volume, where protagonist Courtney Crumrin is introduced by a goblin called Butterworth, and how she moves with her indifferent parents into the sprawling but spooky, withering mansion of her great-great-uncle Aloysius in the wealthy suburb of Hillsborough.
Courtney’s self-centered parents (hence the Matilda comparison) only care about climbing the social ladder in their new neighborhood without having to pay rent, while Courtney has all the time in the world to discover the deep, dark secrets of Hillborough, some of which are hidden within her creepy, imposing uncle’s mansion. But first, she tries to make new friends in school, which turns into her most daunting challenge. As luck would have it, Courtney learns that great-great-uncle Aloysious is a wizard and she sneaks in to learn a trick or two herself, to help ease her transition into the new place.
The artwork in ‘Courtney Crumrin and The Night Things’ is visually engaging, although it’s funny how Courtney’s character illustration doesn’t have a nose, and her eyes make her look like a sock puppet, and now that I am writing this, I realize she reminds me of Coraline, from the 2009 animated movie which was based on a dark fantasy horror novella for children by Neil Gaiman! This comic book series is aimed at a younger audience and should prove to be enjoyable for readers between the ages of 12 and 15, despite featuring some rather disturbing events portrayed in a casual manner. For instance, one of Courtney’s classmates disappears in the woods, presumably eaten by one of the night creatures, yet nobody bats an eyelid over his disappearance.
For dabbling in sorcery, to getting mixed up with evil dark creatures, Courtney sure goes on several weird adventures. She is feisty character, who prefers to keep to herself, isn’t swayed by the popular kids at school, although she does feel the need to have a friend or two. On the very first day of school, she encounters bullies and then deals with them in the most unexpected manner.
I enjoyed how the story continually presents unexpected surprises while the author subtly foreshadows them in a manner that feel cohesive. Overall, “Courtney Crumrin and The Night Things” is an entertaining read for those seeking a dark fantasy novel featuring a teen protagonist with a penchant for trouble.
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Música – Rudy Mancuso’s Playful Look At Daily Sounds
Sneha Jaiswal (Twitter | Instagram)
Rudy is a special young man who sees music and rhythm in daily objects, interactions, so he is constantly distracted by his surroundings, drowning in their melodies as his long-time girlfriend Haley fights for his attention. So when Haley dumps Rudy for being inattentive, and unsure about their future, dedicating all his time to puppets instead, Rudy’s mother immediately lines up an eligible Brazilian hottie for her son, to ensure he isn’t seduced by another “gringa”(slang for foreigner). However, Rudy meets someone else by a chance encounter and attempts to figure out what he really wants in life.
Directed by Rudy Mancuso, who co-wrote the musical “Música” with Dan Lagana, the film is a loosely autobiographical tale about Rudy’s own life. It explores his journey as a college student grappling with uncertainty about his future, navigating the complexities of love, and reconciling his Brazilian heritage. Rudy Mancuso plays a younger version of himself in the film, who is in his final year of college, living with his over-protective and over-bearing Brazilian mom Maria, played entertainingly by his own mother Maria Mancuso.
“Música” opens with a delightful scene where Rudy shares a meal with his girlfriend Haley (Francesca Reale), but he is lost in the rhythms surrounding him. Rudy perceives everyone around him unwittingly creating music with their actions—whether it’s the clinking of spoons and forks or the rustling of papers, drumming of trash cans, thumping of basketballs. It reminded me of Lin-Manuel Miranda’s musical “Tick, Tick… Boom!”, which had a similar scene in a diner, where the protagonist breaks into a song, although “Música” has a more quirky interpretation of music. Anyway… Haley breaks up with Rudy at the diner, and a few days later he meets the beautiful Isabella (Camila Mendes), who works at a fish store. Will he be able to make things work with the new girl? Will he be able to finish his thesis on time? Or will he be stuck doing his puppet shows at the subway?
It’s thoroughly enjoyable to witness Rudy Mancuso’s interpretation of music permeating everything around us, playfully brought to life through well-choreographed musical sequences, where even the most mundane objects seamlessly contribute to a symphony of sounds. But while “Música” has entertaining beats, none of the pieces are something I’d want to revisit, they are fun while they last, but with little recall value. The cinematography exudes vitality, characterized by fantastic transitions between scenes that evoke a sense of stage-like sets rotating with each change. This technique, reminiscent of Wes Anderson’s signature style, creates an engaging visual experience where each setting unfolds like a pop-up book, seamlessly transitioning as if the viewer is turning the page.
Last seen in romantic-comedy “Upgraded”, Camila Mendes lights up the screen in “Música” as Isabella, a grounded, friendly worker who is happy living in Ironbound, a multi-ethnic working class neighborhood. Her character serves as a great contrast against Rudy, whose main aim is to somehow get away from the Ironbound, almost as if he is ashamed of his cultural identity, but Isabella embraces it, her neighborhood truly feels “like home” to her. Rudy Mancuso and Camila Mendes exhibit palpable chemistry on screen, yet despite Rudy portraying himself in the film, there’s a noticeable absence of a certain charm and screen presence to woo viewers. He is nice and awkward, but that’s about it.
Rudy Mancuso shares a lot of screen-time with his puppet Diego (voiced by Rudy), and often has conversations with him when stuck in tough situations. Some of those interactions are hilarious, while others just slow down the pace of the film, especially for viewers who don’t know Rudy Mancuso, who shot to fame with his puppetry and has a popular YouTube channel called “Awkward Puppets”. I guess “Música” will have a whole different appeal for Rudy’s fans, but for even those who aren’t familiar with his work, it’s an entertaining look at a young artist’s struggle to find his place in the world.
Rating: 7 on 10. You can watch “Música” on Prime Video.
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April 9, 2024
Swing to the Moon – Short Film Review
Sneha Jaiswal (Twitter | Instagram)
This is six minutes of cuteness, mixed with the tiniest sprinkle of dread, and a whole lot of wonder!
Only six minutes long, the animated short movie “Swing to the Moon” Marie Bordessoule, Adriana Bouissie, Nadine De Boer and Elise Drique is about a tenacious little spider trying to reach the moon.
The computer-generated imagery (CGI) in the movie is slick, sparkly, and engaging, particularly the character design of the protagonist—the itsy-bitsy spider. Even arachnophobes might find themselves drawn to the character, resembling an owl with big, curious eyes and a fluffy head. It’s almost reminiscent of a character from Angry Birds, but with a cheerful demeanor and eight legs.
From trying to hitch a ride with fireflies, to crossing dangerous human-laden roads, the spider tries all it can to reach the moon. A dreamy soundtrack adds a surreal layer of intensity to its goal, and will keep viewers rooting for the spider to finds its happiness. For a brief moment, the inspirational/magical tone of the film shifts to one of dark horror, and I find myself silently glaring at the screen, muttering, “You better not give that spider a sad ending!”. Spoiler-alert – there’s no sad ending. Yay.
“Swing to the Moon” is an endearing allegory for ambition, hard work, and dreaming big. It beautifully captures the essence of reaching for the stars and pursuing one’s aspirations with unwavering determination.
You can watch the film on YouTube.
The Exorcist’s House – Book Review
Sneha Jaiswal (Twitter | Instagram)
Nick Roberts’s “The Exorcist’s House” follows a family who moves into a farmhouse previously owned by the deceased exorcist, Merle. The Hills, consisting of Daniel, a psychologist, his pregnant wife Nora, and their teenage daughter Alice, intend to renovate and sell the property for profit. However, they soon encounter eerie occurrences and memory lapses, leading them to discover a malevolent demon residing in the basement. As their terrifying ordeal unfolds, the family must confront the horrors lurking within the house.
The author uses all the familiar horror tropes made famous by the 1973 film “The Exorcist” and some more (that we’ve seen since). The Appalachian farmhouse adheres to the oldest trick in the genre – a remote setting, where it’s hard to get any immediate help. A pregnant protagonist – Nora Hill – helps in raising the anxiety levels of the readers, because each time something uncomfortable happens, you tend to worry about her. Even though the character itself isn’t all that likable.
The one character you’d want to root for in “The Exorcist’s House” is already dead – the exorcist Merle Blatty, who is introduced in the prologue as a hardened “devil may care” kind of a man, with a loyal dog called Buck by his side. It’s odd that the Hills didn’t conduct a background check on the property. However, to be fair, knowing that the previous owner was an exorcist who died in a fire on the property likely wouldn’t have dissuaded the pragmatic family from purchasing the farmhouse.
While numerous horrifying events unfold throughout the novel, the members of the Hill family come across as underdeveloped and distant, almost like three strangers coexisting under one roof. Moreover, there are several instances where their actions defy simple logic. Some of these actions are attributed to their wavering memory, influenced by the demon causing them to forget things, but others remain inexplicable. For instance, when the family becomes convinced they are under attack by a demonic entity, Daniel leaves the house to seek help, while Nora and Alice opt to stay behind. The question arises: Why? Why not seek refuge in a crowded place, such as a diner, rather than remaining vulnerable to a powerful rogue demon? Early in the novel, the author explains that those who encounter the entity become “infected” or “tainted,” meaning it will continue to haunt them wherever they go. Nevertheless, faced with this knowledge, would you prefer to linger in a graveyard or seek safety in a café, knowing that a ghost might manifest regardless of your location?
“The Exorcist’s House” unfolds like a cinematic horror experience, with its vivid descriptions and dialogue lending themselves well to a visual adaptation. Author Nick Roberts employs simple, easy-to-read language throughout the story, so it’s definitely easy to follow for readers who prefer their prose to be unexacting. The climax heads in a predictable direction, however, an epilogue chapter closes the story with a violently exciting twist.
For those looking for some solid introspective, haunting psychological horror – this novel won’t be satisfying. It’s straightforward, with nasty demons, lots of violence, gore, and priests being roped in to drive the evil entities away. If that sounds like something you’d enjoy, pick this up. It’s an easy entertainer for horror fans who are fine with familiar tropes and twists.
Rating: 3 on 5. “The Excorcist’s House” is also on Kindle Unlimited.
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April 8, 2024
“The New Look” Review – Slow, Steady, Resilient
Sneha Jaiswal (Twitter | Instagram)
“Monsieur Dior, is it true that during the German occupation of Paris, Coco Chanel closed her atelier and refused to design dresses for the wives of Nazis, while you kept designing and making money?”
This probing question, posed in the prologue of Todd A. Kessler’s ‘The New Look,’ encapsulates the moral dilemmas at the heart of this gripping series. Set against the backdrop of Nazi-occupied Paris in the 1940s, the narrative delves into the contrasting lives of Christian Dior and Coco Chanel amidst the chaos of war. As Dior reflects on the complexities of survival and compromise, the series transports viewers back to this tumultuous era, revealing the hidden truths behind the glamorous facade of haute couture.
Spread over ten episodes, “The New Look” is a heady mix of art, war, and fashion during the times of Nazi occupation, inspired by real people and events. The creators clearly take creative liberties with historical accuracy to enhance dramatic impact. Ben Mendelsohn plays Christian Dior, who works under French couturier Lucien Lelong (John Malkovich) before ascending to stardom as a designer, eventually surpassing the reputation of Coco Chanel (Juliette Binoche). But it’s not all clothes, beauty, and frills for these designers, who despite living in their own bubble, must also face fear, intimidation, and desperation that comes with being under the scrutiny of Hitler’s Gestapo in the 1940s.
Click here for detailed episode by episode review of “The New Look”
“The New Look” unfolds three distinct storylines in parallel. While the challenges faced by Christian Dior and Coco Chanel take center stage, the series also explores the struggles of Christian’s sister, Catherine (Maisie Williams). As a member of the French Resistance, Catherine survives a Nazi labor camp, only to grapple with the painful journey of recovery from the horrors she endured.
From its opening episode, the series establishes a complex web of characters and themes, weaving together the glamorous world of haute couture with the stark realities of war and oppression. Ben Mendelsohn delivers a compelling performance as Christian Dior, whose rise from obscurity to fame is fraught with personal sacrifice and moral dilemmas. Alongside him, Juliette Binoche is duplicitously fabulous as Coco Chanel, portraying her as both a formidable shrewd businesswoman and a calculative ambitious human who’d do anything to have things her way, even if it means getting her hands dirty. She taps into a friend’s Nazi connections to rescue her nephew, a decision that gets her knee deep into troubles.
Throughout “The New Look”, the cinematography skillfully captures the contrast between the opulence of high society and the hardships faced by ordinary citizens, creating a visually striking portrayal of life under occupation. The attention to detail in recreating the fashion of the era is particularly impressive, even though Dior’s iconic designs do not get as much space as viewers might expect, given the title of the series. The background score for the series is music to the ears, composed of classic French tunes and nostalgic piano flourishes that perfectly complement the scenes unfolding on your screen.
One of the series’ greatest strengths lies in its exploration of themes such as resilience, redemption, and the power of creativity to transcend adversity. The relationship between Christian and his sister Catherine, portrayed with warmth and sincerity by Maisie Williams, serves as a poignant reminder of the bonds that unite families in times of crisis. The makeup and styling department have done an excellent job transforming Maisie Williams into Catherine; she looks every bit the working-class French girl when introduced. Her transformation into an emaciated Nazi prisoner is even more haunting.
“The New Look” is laden with new twists and turns, from Coco’s dealings with Nazi collaborators to Dior’s struggles to establish himself as a designer in his own right. While the whole cast of this series is believable in their roles, two supporting actors who stood out most are John Malkovich as Dior’s kind mentor Lucien Lelong and Emily Mortimer as Chanel’s close friend Elsa Lombardi.
The pacing may vary across episodes, with some moments feeling slower than others, especially the middle episodes, that seem to meander a little more than necessary, but the overall narrative manages to remain engaging. Each episode builds upon the last, culminating in a satisfying and emotionally resonant finale that celebrates the triumph of hope and imagination over despair. Christian Dior’s dream to “design the most beautiful women’s clothing” is realized poignantly in the climactic episode.
Overall, “The New Look” is a compelling series that offers a fresh perspective on familiar historical events. With its stellar cast, and sumptuous production values, it succeeds in capturing the essence of an era defined by both darkness and light. Whether you’re a fashion enthusiast, a history buff, or simply a lover of well-crafted storytelling, this series is worth a watch.
Stream the series on Apple TV+
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