“All they ask of us is to stay here. Where it’s safe.”Bunny
After the excellent Booksmart, I had high hopes for Olivia Wilde’s sophomore directorial outing. Sadly, despite its panache, Don’t Worry Darling proves to be a shallow and often repetitive thriller that believes itself to be smarter than it is. The setup is a suitably surreal take on 1960s American suburbia where, like The Stepford Wives, something is palpably wrong. The leads’ idyllic relationship, with excellent performances from Florence Pugh and Harry Styles, is the film’s strength, Wilde’s direction providing eroticism through touch rather than nudity. As Alice becomes increasingly unsettled, the sound mix buzzes around uncomfortably like an insect, reflecting her mental state. Reflections are also a neat visual flourish, with several occasions where mirrors act impossibly. Third act twists are dangerous as they risk alienating an audience and Don’t Worry Darling manages the double sin of being entirely obvious with half of its conceit and entirely out of leftfield with the other. The result is an unsatisfying and disjointed reveal that leaves too little time to explore its ramifications. Chris Pine’s antagonist is overtly based on Jordan Peterson, particularly his obsession with order and chaos, and natural heirarchies, yet the film is content to make this allusion without attempting to debunk or even engage with his ideas. This is the film’s ultimate failure, which is that it never delves beneath the surface in any of its ideas, from cult programming to traditional gender roles to the broader concepts like satisfaction with our reality. There is far more to be gleaned from films with lesser ambitions like The Master or Martha Marcy Mae Marlene.
Disclosure: I know personally at least one person involved in the making of this film.