:quality(70)/cloudfront-us-east-1.images.arcpublishing.com/shawmedia/U5QRX75UDVFVDO7PJ63V3DV6BY.jpg)
One of my favorite topics to discuss in my film course has to do with the distinction between costumes and clothes. People wear clothes; characters in a film wear costumes. And while clothes tell a lot about a person, and a costume reveals even more about a character, we have to understand that the costume is worn to help tell the story.
Clothes do relate part of our own story. For example, yesterday, I was telling my summer film class that I needed a new jacket because my last one was always catching on fire. I guess that is what happens when you buy a blazer.
I did get a new soft one from the internet, however. It was downloaded.
Another great topic for discussion is the concept of sources for film. Anything can inspire a writer to write, and one of the latest trends is to create origin stories of established characters.
The reasoning is sound, for if a character is already established, going back and telling how they became who they are has an existing fan base. The Marvel Cinematic Universe has relied on this concept to provide the backstory on many of their characters in the cornerstone “Avengers” movies, and we have watched several horror franchises spread tentacles back to explain why something is happening now.
In addition to their superhero films and traveling to a galaxy far, far away, the Disney studio used this concept fairly effectively when they brought to life the mistress of evil herself, Maleficent, in the 2014 movie starring Angelina Jolie in the title role. They rock the house with another one, their recent live-action adaptation, “Cruella.”
It’s set in London in the 1970s, where we are introduced to a single mother named Catherine, whose daughter, Estella, shows an artistic side mixed with a rather mischievous and often cruel nature. She is nicknamed Cruella because of this. After an interesting situation at Baroness von Hellman’s estate, Catherine is pushed off a cliff (by Dalmatians), leaving Estella to fend for herself.
A decade later, Estella (played by the incredible Emma Stone), whose natural black-and-white hair is dyed red to “blend in,” helps her two criminal friends Jasper and Horace by designing their costumes. Grateful for her hard work, they get her a job on her birthday at a local department store. Though she is meant to only be a cleaner, she redesigns a window display, eventually drawing the eye of the Baroness.
Known for being a high-end fashion designer, von Hellman (played by the equally magnetic Emma Thompson) brings Estella into her circle. When Catherine’s necklace is discovered around the neck of the Baroness, Estella learns a different story of how it came to be. A plan to steal the necklace goes awry, but Estella (disguised as Cruella with her natural hair and a flamboyant outfit) connects the dots with her mother’s murder, and realizes that the Baroness is not who she appears to be.
Craig Gillespie, who also directed “I, Tonya,” shows a great flair for the over-the-top extravaganza that makes “Cruella” a visual treat. The costumes are designed by two-time Oscar winner Jenny Beavan (who should be in line for number three after this film); and Oscar nominee Alice Felton does the set decoration, which will transport viewers to the punk-rock era when flashiness was encouraged, and style was creative and extreme.
The music is straight off “Wolfman” Jack’s playlist, featuring Supertramp, The Animals, Deep Purple, Bee Gees, The Rolling Stones, The Doors, Ike and Tina Turner, and Leather Tuscadero herself, Suzi Quatro. Nicholas Britell’s score adds an excellent emotional tone to the scenes with instrumental pieces expertly placed throughout the 134-minute runtime.
Make no mistake though, this film has the acting chops of a heavyweight title fight. The Emmas (Stone and Thompson) are beyond dazzling, and the interactions are like the battles from “Godzilla vs. Kong,” just with better costumes. Their venomous personalities bounce off each other, and you almost find yourself wondering whom to root for. When the identities and connections are revealed, the choice becomes simple.
Joining the Emmas are Joel Fry and Paul Walter Hauser who become Jasper and Horace, making the situations quite comical. Kirby Howell-Baptiste is Estella’s columnist friend Anita “Tattletale” Darling, who could give Cindy Brady a tip or two; Kayvan Novak is Roger, the lawyer whom the Baroness fires; and Mark Strong is John, who eventually redeems himself when he helps Cruella with an important revelation.
Now, the story does come in a little long for a Disney film, but it ties up a lot of the pieces leading into the 1961 animated classic. The pacing is not slow for a film, but slow for a children’s film, which is a debatable distinction. It is rated PG-13, but it is a light PG-13. The murder of Catherine over a cliff because of the Dalmatians can be very, very disturbing for young children. This is really a film for adults who want to see great acting and enjoy two strong characters crossing proverbial blades.
Much like “Maleficent,” “Cruella” provides a fabulous backstory that gives more depth to the characters than we recall from the older films. Gillespie brings a beating heart to the title character, though not excusing her from her actions, but providing a valid reason for who she is. Dana Fox and Tony McNamara’s screenplay allows for the story to go full circle, which is in the traditional Disney style. Fans of the older films will enjoy the homage, new fans will love the visuals, and everyone will enjoy the acting, regardless if there are more “bad things coming” – because, “Darling, looking good is better than being good.”
Speaking of bad, I had a closing fashion joke but, honestly, I am running out of fashion puns. I will have to run to the fabric store for some new material.
In the meantime, happy viewing!
• Jim Stockwell is a tenured instructor of film and broadcast journalism at McHenry County College, teaching Introduction to Film, Advanced Film and Introduction to Public Speaking.