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A narrative is anything but that of the new Prime Video movie Heda Only a Burn the saltA stylish retelling of Henrik Ibsen’s classic play Hedda Gablerbut it doesn’t remotely do it justice. People who think that gender-swapped characters and LGBTQIA+ romances are the most interesting things about it.
If there’s anyone who knows a thing or 35 about scifi movies, it’s me. I report on them every chance I get, and if I’m not doing it, I’m probably done. Carolfor , for , for , . Ammonite or bound In conversation I will admit it Heda I was intrigued by Nina Hoss – who played Cate Blanchett’s fictional wife tár – but little did I know what I was in for.
Of course, this film is not perfect. Just considering how messed up Hedda is as a character, it was never going to happen. But there’s no doubt that this is director Nia DeCosta’s strongest entry to date. It received undeserved flak for it amazing And the 2021 version The Candy Manand I hope that doesn’t happen here either.
We need to read between the lines to fully see the merits of what we do Heda Have to offer, and that’s half the fun. A friend described it to me as a Whodonite mystery where you already know who the killer is (instead you’re looking for the motive), and I think that’s a fair assessment.
It’s as sexy, outrageous, and wild as you’d hope it would be, but it’s also controlled while pulling back when it needs to be. When it comes to creating a memorable dinner party, it’s exactly the balance of tension that you’re looking for.
Hedda is more than just sex and scandal – it’s a moving mirror
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If you’re unfamiliar with Ibsen’s original story, this is what we’re dealing with: Hedda (Tessa Thompson) is an unpleasant noob who feels blocked from being her true self. When her husband George (Tom Bateman) wants a new position at work, Hedda decides to throw an extravagant party so that George can invite his boss, Professor Greenwood (Finbar Lynch), and try to seal the deal.
During the evening, George’s rival Eileen (Husse) arrives for the same role as pooch Professor Greenwood, prompting the party to descend into chaos. Eileen’s writing partner and lover Thea (Imogene Potts) tries to keep her on the straight and narrow, but Hedda takes her interference too far.
The most satisfying part of Heda What’s more is how Dacosta effortlessly pulls off the dynamics of a dangerous power game between women, marginalizing the male world around them in the process. Thompson’s Hedda is not a woman you would like, or who even consciously knows what she wants.
She’s acting on a continuum, and everyone around her feels the consequences of her decisions. It means one hell of a dinner party for us, bringing long-held tensions and traumas to the surface, where they explode on whoever is nearby. It’s usually Eileen and Thea, and boy is their romantic triangle a complicated one.
Where the structure is damaged, the cast holds it
The basic structure of Heda Not playing like the shock factor Burn the saltand it could have deepened and finalized the intimacy and pure romance between the three women. But even with these minor missteps, our cast provides something to marvel at.
Although Thompson’s tone is… interesting in the prime video film, there is no mistaking his conviction and conviction. It’s not easy to make us completely devoid of sympathy for a character while still enabling them, and she strikes a balance all the time. Potts plays an effective counterpart as the restless Thea, who calls out Hedda’s manipulations as she screams into the wind.
For me, it’s the lust that makes the film work. There is an unusual scene after Eileen gets drunk and swims in the lake, when her dress is wet and she enters the drawing room to talk to her male rivals. She tells vivid stories on the top figure, and when she metaphorically eats them out of her hand, the clothes dry.
It’s the level of detail that’s worth paying attention to, that has the overall effect Heda As filling as a giant cake, humanity is capable of devouring every possible detail of the ugly truth. It’s hard to charm obnoxious people, but we love to see when it works (which is why reality TV is so popular).
Without spoiling anything, Dacosta also changes the ending of Ibsen’s play. With a simple tweak, she debunks the safic media stereotype Heda Could have easily been a victim, and that’s just a fantastic way to sum up what she’s achieved.
We’ve all been molded enough by the classics, but when they hold up a mirror to who we’ve become and what we’re capable of, who are we to look away?
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